We all love a comeback story.

Last year the TCL C8K was mildly disappointing, and instead its step-down sibling, the C7K, took most of the glory (and a What Hi-Fi? Award).

Not this year, though. With groundbreaking new Super Quantum Dot technology and a significant increase in dimming zones, its successor, the C8L, is now back in the running.

We declared as much when we awarded the TV five stars only two days ago – yet there is already a hefty discount. Just use the code TCL20PERCENT to save 20 per cent and get the C8L for £1519 at Richer Sounds.

The TCL C8L certainly looks promising on paper, with a claimed peak brightness of a huge 5000 nits, a high local dimming-zone count of 2040 and TCL’s new Super Quantum Dots. These represent a major update on traditional Quantum Dots, with claimed increases in efficiency, stability, brightness, colour range and colour accuracy.

That should establish the C8L as a cut above the LCD TV norm, but how does it actually translate to performance? Well, we found that it had a transformative effect compared with its predecessor, the C8K.

“This colour blend finesse feeds into an impressively three-dimensional look to pictures, regardless of whether you’re using the TV’s Standard or as-the-director-intended Filmmaker Mode preset, as well as an outstandingly crisp, detailed look to native 4K images where you feel like you’re appreciating the full and accurate weight of every single pixel,” our TCL C8L review reads.

“Its Mini LED plus advanced local-dimming backlight system also plays a huge part in the feeling of precision and, in the Filmmaker Mode’s case, accuracy, by being able to deliver not just extreme brightness highlights and remarkably inky black colours, but every imaginable shade in between.”

Gamers have a lot to look forward to: an input lag of just 10.1ms, 4K/144Hz support, VRR, support for refresh rates at HD resolution up to 288Hz, and ALLM switching.

The built-in Google TV also has all the key global video streaming services – including the main UK terrestrial broadcaster catch-up apps – while the TV also supports the four big four high dynamic range formats: HDR10, HLG, HDR10+ and Dolby Vision.

The Bang & Olufsen 2.1.2-channel sound system is also good by TV standards, crafting a soundstage that extends beyond the screen’s outer frame and creating an open, immersive sense of space for movies. It can, though, sometimes lose coherence and give the wrong elements too much emphasis.

Overall, the outstanding picture quality of the TCL C8L is hard to beat, especially with 20 per cent off at Richer Sounds. If you’re after a backlit TV bargain, put this on your list.

MORE:

Read our Hisense UR9 review

Also consider our Sony Bravia 7 II review

Best TVs: flagship OLEDs and budget Mini LED sets tried and tested

For a new flagship phone from Apple, the iPhone 18 Pro is unusually easy to overlook.

On the one hand, while the iPhone 17 Pro was the biggest redesign of the Pro line in years, this new model looks essentially identical to its predecessor. On the other, Apple's first foldable iPhone is about to arrive, attracting much of the attention that would normally be reserved for a new flagship.

And yet, while the changes to the iPhone 18 Pro may not be immediately obvious, they add up to a phone that's subtly better in some important ways. The new A20 Pro chip brings more power and efficiency, the variable-aperture main camera is an impressive piece of engineering, and battery life has taken a significant step forward.

For us, though, the biggest question is what Apple has done with the bit that hasn't apparently changed. The screen and audio hardware are almost identical to those of the 17 Pro, yet our testing reveals some surprisingly worthwhile improvements to both picture and sound.

Price

There is a disappointment to get out of the way immediately, though: the iPhone 18 Pro is £100 / $100 / AU$100 more expensive than its predecessor was. That means the price for the entry-level 256GB model is £1199 / $1199 / AU$2099.

The 512GB version again commands a premium of £200 / $200 / AU$400, but the cost of the 1TB model has now jumped to a disproportionate £1799 / $1799 / AU$3299.

If that’s still not enough storage for you, there’s also now a 2TB model, which will set you back the princely sum of £2399 / $2399 / AU$4499.

If you’d like a bigger screen, meanwhile, a 6.9-inch iPhone 18 Pro Max costs £100 / $100 / AU$200 more than a 6.3-inch iPhone 18 Pro of the same capacity.

Design

There's very little that's new about the iPhone 18 Pro's design, but that's hardly a complaint.

This is a beautifully made, exceptionally handsome phone, with its combination of smooth surfaces, premium materials and robust construction giving it the kind of in-hand comfort and reassuring solidity you'd expect from a flagship iPhone.

The Ceramic Shield 2 front and Ceramic Shield back should help it withstand the knocks of everyday use, too, and the IP68 rating remains.

At 211g, it's just 7g heavier than the 17 Pro, while the dimensions are identical.

The new colours are Black, Glacier and Burgundy, joining the returning Silver. Our Burgundy review sample looks considerably better in person than it does in pictures, but we don't think it's quite as handsome as the Deep Blue finish of our 17 Pro review sample. It's also a shame that there's no particularly vibrant option this time around, with nothing quite as eye-catching as last year's Cosmic Orange.

Those are minor niggles, though – the iPhone 18 Pro is an absolutely lovely device from a design perspective.

Features

The biggest changes from last year's iPhone 17 Pro are the new A20 Pro chip, a larger vapour chamber for better cooling, longer battery life and an extremely impressive variable aperture on the 48MP Fusion Main camera.

Apple claims that the A20 Pro delivers up to 20 per cent faster CPU performance and up to 40 per cent faster GPU performance than the A19 Pro, while the new cooling system helps deliver up to 40 per cent better sustained performance.

As ever, this is more power than a humble portable movie and music player is ever likely to need, but it will be useful for long sessions on iOS’s most advanced games, and it should make more advanced AI tasks that bit quicker and speed up jobs such as video editing, should that be your sort of thing.

For most of us, perhaps the biggest benefit to all of that power will be how long the phone should remain capable of delivering a satisfying performance – if you’re a content consumer, this is a phone that could last you years.

On the subject of AI, Siri AI is finally available – albeit officially in beta form. This delivers an AI experience much closer to that which many people have become accustomed to with ChatGPT and its rivals, but with added personal depth thanks to integration with your messages, emails, calendar, etc. It’s worth noting, though, that you don’t need to buy the iPhone 18 Pro in order to access Siri AI – it’s available via phones as old as the iPhone 15 Pro.

The iPhone 18 Pro’s more efficient chip, combined with the improved cooling system, also contributes to better battery life, with Apple quoting up to 34 hours of video playback compared with 31 hours for the 17 Pro. Opt for the iPhone 18 Pro Max, and that battery life leaps to a whopping 43 hours of video, up from the 37 hours of the iPhone 17 Pro Max.

Charging is faster, too. Apple says the 18 Pro can reach 50 per cent charge in around 15 minutes, although you'll need a suitable 60W charger with Adjustable Voltage Supply to achieve that. There's no charger in the box, of course.

The camera system's biggest change is the variable aperture on the 48MP Fusion Main camera, which automatically adjusts for lighting and depth of field. This really is a very impressive feat of engineering, with six laser-cut blades, each thinner than a human hair, arranged in a circle and able to open and close to physically control the amount of light hitting the sensor. This isn’t the first time such technology has been implemented in a phone, but the iPhone 18 Pro is the only mainstream phone that currently features it.

To go with this new pro-style camera hardware are several pro-style software features, including ‘Pro’ controls for the aperture, upgraded photographic style customisations, smart focus tracking and improved low-light video, and cinematic effects can now be applied after you’ve recorded your video.

Of course, this is largely overkill for those of us of a more point-and-shoot persuasion, but the variable aperture does appear to make the promised improvements to low-light shots, which are crisper and more detailed than those we capture with the iPhone 17 Pro. In fact, across the board, we find the iPhone 18 Pro produces subtly sharper photos than its predecessor, even when simply left in the Auto mode.

As ever, though, our real interest lies in the picture and sound performance, and in this respect, on paper, almost nothing has changed.

The one small screen change is that the Dynamic Island has been shrunk, so it should prove even less likely to distract when watching full-screen movies.

Specs-wise, though, this is the same screen as before: a 6.3-inch Super Retina XDR OLED with a 2622 x 1206 resolution, 460ppi and ProMotion with adaptive refresh rates up to 120Hz.

Maximum outdoor brightness remains 3000 nits, HDR format support is once again universal, and Apple quotes a 2,000,000:1 contrast ratio and a minimum brightness of 1 nit.

Apple hasn’t flagged any changes to the speaker system or audio hardware, either, so in theory, the iPhone 18 Pro should deliver movies and music exactly as the iPhone 17 Pro does.

Picture quality

Despite the identical screen specs, there are subtle but noticeable differences in the picture quality of the iPhone 18 Pro compared with the iPhone 17 Pro.

Playing F1: The Movie, we’re treated to an awesome contrast-rich, sharp and detailed delivery. The crispness of the rendering of the GT cars in the opening of the scene is superb, even as they bomb along the back straight of Daytona, and the deep, inky OLED blacks give the night-time scene a wonderful presence and solidity.

All of this is true of the iPhone 17 Pro, too, though. The difference lies in colour temperature, with the new model skewing slightly cooler. It’s not so cool as to give the presentation an overly blue, uncinematic appearance, but it does lend the whole scene an even cleaner, punchier look, with highlights that have even more bite. For a movie such as F1, the new balance works brilliantly.

It’s slightly less of a qualified success with a movie such as Shutter Island, though, where the cooler balance removes some of the intentionally old-fashioned richness of the mastering.

In truth, the iPhone 17 Pro perhaps skews a little too warm, exaggerating this richness, and the perfect balance probably lies somewhere between the delivery of the two phones, but the new model makes Leonardo DiCaprio look even more pale than he’s supposed to, and also robs his ridiculous tie of some of its vibrancy. On the other hand, though, peak highlights again pop a little more dynamically, as seen in the ceiling lights of the hospital and gleam off the barrel of a silver pistol.

It’s also worth noting that while the differences are relatively easy to spot when the two phones are viewed side-by-side, in isolation, both models are superb for watching movies on the move – it’s like having a small, high-quality OLED TV in your pocket.

Finally, a word on the Dynamic Island. As mentioned, this has been made smaller for the new iPhone Pro (though it can conversely expand further to present more live information when required).

As before, it’s invisible when watching movies in the default letterbox style, but it intrudes into the picture when you expand it to fill the display. We’ve always found the Dynamic Island surprisingly easy to ignore, with your brain quickly forgetting it’s there, but it’s even less noticeable on the iPhone 18 Pro.

Sound quality

We were really impressed by the iPhone 17 Pro’s spatial openness and organisation, and the iPhone 18 Pro is even better in these regards, albeit only very slightly so.

Watching the opening of F1: The Movie once more, as Sonny peers out at the racetrack from his team’s garage, the degree to which the sound of the cars stretches from far right to far left as they roar along the straight is disarmingly impressive, and the placement of all of the competing effects is even more precise than with last year’s model.

This precision helps dialogue emerge from the chaotic sonic backdrop even more clearly, too, and there’s a very small degree of additional dynamic subtlety and detail to voices.

Of course, we’re still talking about phone speakers here, so while the sound is remarkably impressive for a device this small, it’s still lightweight and shrill by absolute standards, and watching movies this way should really only be a last resort.

That’s even more true of stereo music, although the iPhone 18 Pro is very slightly better than the 17 Pro here, too, with a marginally cleaner and less congested presentation.

Of course, it’s when a pair of headphones is connected that the iPhone produces a sonic performance that’s really worth getting excited about.

Listening to Sleep Token’s The Summoning via a pair of AirPods Max 2 headphones connected via USB-C for maximum quality, the 18 Pro delivers all of the track’s bruising aggression without introducing any hard edges or harshness.

The initial percussive attack hits like a freight train, but the huge punches and massive volume shifts combine with fine detail and subtle low-level dynamics to deliver every part of the epic track’s evolution with the required balance of brutality and beauty.

Tonal balance is superb, too, with the hi-hat tinkling cheekily against the funky bassline of the unexpectedly groovy finale, and Vessel’s rich vocals projected cleanly.

This balance and blend of abilities make the iPhone equally adept with all genres of music, and as we switch from metal to folk, pop, classical and beyond, we’re not once disappointed by the delivery.

Of course, all of this is also true of the iPhone 17 Pro, and it’s true that the differences between the headphone presentations of the two phones are tiny. There is, though, a little additional precision to the leading edges of notes from the new model over the last, which was itself a touch punchier than the model before it. We really are talking minimal margins here, though.

Verdict

The iPhone 18 Pro is an outstanding portable movie and music player, with a superb picture, excellent sound and some surprisingly worthwhile improvements over its predecessor.

The picture remains the real star. The 18 Pro delivers the same exceptional contrast, detail and clarity as the 17 Pro, but its slightly cooler balance gives bright, punchy material such as F1: The Movie even more impact. It's not quite as successful with warmer, more deliberately rich material, but both phones produce an exceptional picture, and the 18 Pro has the edge overall.

Sound is similarly excellent, particularly through headphones, where the 18 Pro delivers superb clarity, dynamics and tonal balance. The built-in speakers are remarkably capable for their size, too, with impressive spatial precision and a slightly more refined presentation than the 17 Pro.

The key thing is that none of these improvements is transformative. If you already own an iPhone 17 Pro, there's no compelling AV reason to upgrade, particularly given the price increase.

For someone buying a new phone, though, the equation is different. The iPhone 18 Pro is a stunning portable AV device in its own right, while its more powerful chip, longer battery life and significantly upgraded camera give it plenty of advantages beyond movies and music.

SCORES

• Picture 5
• Sound 5
• Features 5

MORE:

Read our review of the iPhone 17 Pro

Also consider the iPhone 17

Read our Samsung Galaxy S26 Ultra review

Best smartphones: the best phones for music and movies

Take the Award-winning Planar 6 turntable, add elements from the next-tier-up Planar 8 model, and give it the visual treatment we liked so much in the Planar 3 RS Edition. It’s a formula that simply can’t go wrong, can it?

Rega’s experiment with its first ‘Rega Special’ Edition resulted in the superb, talented Planar 3 RS Edition (a prestigious Product of the Year winner, no less), and now it has given the RS treatment to the next rung on its turntable ladder. Considering the Planar 6/Nd7 package is a five-star, multiple Award winner, and the Planar 8 is also a five-star, former Award winner, a product that Frankensteins the best bits of these two models together is surely a recipe for success.

Can this more premium Planar 6 RS Edition win us over in the same way its sibling did? It doesn’t take long for us to answer that question.

Price

The Planar 6 RS with Nd9 moving magnet cartridge is cannily priced at £2000 / $3195 / AU$4199. This puts it right in between the standard Planar 6 with Nd7 MM cartridge at £1655 / $2595 / AU$3499, and the Rega Planar 8 with Nd9 at £2554 / $4200 / AU$5399. We tested the Planar 8 with the older Apheta 2 MC cartridge back in 2018, and the current package with the newer Apheta 3 MC costs £3000 / $4945 / AU$6299 in total.

The Nd9 cartridge included here as standard is the brand’s top-end moving magnet cartridge and costs £695 / $1095 / AU$1499 on its own, and features a boron cantilever and fine line nude diamond stylus profile that is based on the brand’s reference high-end Aphelion 2 MC cartridge (£3640 / $5545 / AU$7499). The Nd9 isn’t available as a factory-fitted option with the standard Planar 6, so adding it on separately will exceed the value of the 6 RS.

For those who prefer a moving coil cartridge, Rega offers a Planar 6 RS Edition bundle that includes the Ania MC fitted and Fono MC phono stage for the same price as the Nd9 package. It’s pretty compelling value no matter which option you choose.

Build & design

Rega’s use of the ultra-lightweight Tancast 8 polyurethane foam material in the plinth is what sets its premium models (Planar 6, 8, 10, Naia) apart from the MDF plinths in the sub-£1000 Planar 1, 2 and 3 models.

Rega’s defining engineering philosophy is that adding mass to a turntable absorbs energy and this saps the life out of the music, alongside transmitting unwanted resonances that negatively affect the sound – hence its continued pursuit of materials that are very light but also deliver exceptional stiffness.

The Planar 6 RS Edition uses the same Tancast 8 foam core sandwiched between two layers of very thin but stiff HPL (High Pressure Laminate) construction as the Planar 6 and 8, which offers a rigid but extremely low mass base for the turntable. Even after all this time, we’re surprised by just how light the turntable is when taking it out of the box.

Like the Planar 3 RS, the Planar 6 RS has a brushed metallic finish that not only looks stunning, but also acts as another ultra-thin skin around the plinth. As a way of visually differentiating the two RS models, this metal skin is a lighter finish on the Planar 6 RS and wraps all around the edges of the plinth, whereas the darker Planar 3 RS has mirrored black edges.

The Rega Planar 6 RS Edition is a lovely looking piece of hi-fi. Its minimal, belt-drive design is further accentuated by the sleek finish, while every element on the turntable – from the tonearm to the sub-platter to the screen-printed logo – is built to an impressively high standard.

That the Planar 6 RS sticks with the more conventional rectangular plinth design and full-size hinged dust cover is surely another reason why it has been so popular since it was announced earlier this year. It’s ideal for those who want the benefits of the Planar 8’s advanced technology, but aren’t enamoured with the skeletal plinth design or find its moulded dust cover impractical.

The Planar 6 RS adopts the hand-assembled RB880 tonearm found in the Planar 8, and this – along with the step-up Nd9 cartridge – is a big part of the 6 RS’s performance upgrade. The RB880 tonearm is a step up from the RB330 found on the standard P6, and is further refined to reduce resonances throughout the one-piece tube.

It features an improved aluminium and stainless steel vertical bearing assembly, with zero-tolerance bearings that are adjusted to less than a 1000th of a millimetre for near-frictionless movement. In use, there is no undue play and the movement is incredibly smooth.

Additionally, the 6 RS Edition features a twin motor pulley with two drive belts, which help deliver more accurate and stable speed control. It’s another design point taken from the premium Planar 8.

Other elements remain from the standard Planar 6, which include the nicely machined aluminium sub-platter, the dual-layer glass platter, and the double-brace system that strengthens the area between the tonearm mounting and the main hub bearing. This is a clever way of adding extra rigidity without adding too much unwanted mass to the turntable.

As with every deck from Planar 6 upwards, the 6 RS Edition’s low-noise 24v AC motor is powered by an outboard Neo Mk2 power supply unit, which offers electronic speed switching (33⅓ and 45 RPM) and is hand-tuned to match the motor on the turntable it is paired with. So if you’ll be auditioning the Planar 6 RS against the standard P6, make sure both models are used with their matching PSUs.

With the Nd9 factory-fitted, setting up the Rega turntable isn’t complicated at all. Simply balance the arm using the stainless steel counterweight, set the tracking weight and bias to the cartridge’s recommendations (1.75g in this case), and plug the captive phono leads into a capable stereo amplifier, and you’re good to go.

Sound

We plug the Planar 6 RS into our reference Naim Nait XS 3 integrated, and switch between the Epos ES-7N standmounts and PMC Prodigy 5 floorstanders during our testing. The Naim is discontinued now, so we would suggest Rega’s own Elicit Mk5 amplifier and the Fyne F502S or PMC Prophecy 1 speakers as a good pairing for the 6 RS Edition’s talents.

It doesn’t take us long to hear the step up in performance from the standard Planar 6. The recognisable Rega sonic characteristics are there – agile timing, superb dynamic ability, and a lovely balance between authority and subtlety.

We spin some of our favourite test records – Holst’s wide-ranging The Planets, Nirvana’s MTV Unplugged live set, the ambient soundscapes of Four Tet, and Fleetwood Mac’s Rumours – and find that the Planar 6 RS Edition simply elevates all those recognisable sonic aspects even further.

The upgrades on the Planar 6 RS all pull together to deliver a sound that is more stable and composed, and even more expressive and delicate. The turntable offers a quieter background for detail from the vinyl grooves to flourish, and it’s a more three-dimensional sound, too.

The positioning of instruments in Holst’s chaotic, intense Mars is more definite within the sweeping, broader soundstage, with the edges of notes relayed with a greater degree of authority and precision. The sweeter, delicate notes of Venus are just that – the higher tones of the flute, clarinet and violin sound subtle and textured alongside the delicate shine, with a fluidity that holds our attention even in the movement’s quieter moments.

That meaty bassline in The Chain is deep, punchy and pulled taut; the Rega’s tremendous agility combines with a greater amount of low-level dynamic finesse so that it sounds even more tuneful and impactful. The 6 RS Edition does a fine job of keeping all the strands of the chorus organised and balanced – no single element jostles for the limelight over another.

With Nirvana’s MTV Unplugged record, we find the 6 RS better conveys the space of the room the musicians are playing in compared with the standard model, while Kurt Cobain’s voice sounds even more raw and revealing. Dynamically, there’s simply more going on – guitar strums are more emphatic, silences are deeper, and the way his voice reaches hair-raising intensity during the closing track sounds more visceral and organic.

Switch back to the standard Planar 6, and we still find it delivers an agile, fluid and dynamically exciting performance, with plenty of fine detail. The 6 RS Edition simply locks everything into place with a greater sense of composure and confidence. Voices are more intimate and have more presence; the switch from a quiet moment to a big crescendo is more dramatic; and we are drawn into the music with greater emotion, no matter the genre.

Verdict

As the Planar 3 RS Edition bridged the gap between the standard Planar 3 and the step-up Planar 6, this model is a similar stepping stone between the P6 and the more premium Planar 8, and offers excellent value for the combination of its advanced technologies.

The Rega Planar 6 RS Edition is a beautifully and cleverly made turntable, and its stylish looks and great sound will be a siren call to any vinyl fans who can afford to level up to this price.

Review published: 8th October 2026

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Rega Planar 6/Nd7

Also consider the Rega Planar 8

Best turntables: top record players tested by our expert reviewers

Amazon has announced the Amazon Alexa Tablet range, a new premium line that will pit an Amazon tablet directly against the iPad for the first time.

The line includes three models: Amazon Alexa Tablet 8, the Alexa Tablet 11 and the flagship Alexa Tablet 12 Pro.

The Alexa Tablet 12 Pro is available with an optional “Nanomatte” display that uses anti-glare technology to reduce screen glare, and Amazon claims 82% contrast retention in bright conditions. There’s also a 120hz refresh rate and 280 pixels per inch.

I have seen the Nanomatte display in action, and it was noticeably brighter and more contrast-rich than the rest of the line-up, as well as Amazon’s previous tablets. I was shown a few minutes of the opening of House of Cards, where a crisp, white shirt contrasted nicely with an inky-black night sky.

On the audio side, there is support for Dolby Atmos, as was the case with Amazon’s budget Fire HD range. I didn’t get long with the audio, but the 12 Pro is loud enough and clear enough to listen to even in a room full of talking people.

These are also the first Amazon tablets to run on full Android, complete with access to the Google Play Store and its wide array of more than a million apps. This is a very welcome move – one of our biggest gripes with Amazon’s previous tablets was the limited app selection on the retail giant’s own operating system.

All three tablets now come with Alexa+ fully integrated into the tablet rather than as a standalone app. This can be called upon any time via voice control or by tapping the “Ask Alexa” button. This will benefit productivity more than entertainment, though I was shown a demonstration of how Alexa can find and play shows across various streaming services and suggest films you might like, based on your taste.

On-Screen Intelligence can also read your screen, should you allow it, for personalised help. The 12 Pro also comes with support for the Tablet Pro Pen and Pro Keyboard, both sold separately, much like other premium tablets.

The flagship Amazon Alexa 12 Pro with Nanomatte display starts at £500, which puts it directly up against the iPad and iPad Mini, which start at £429 and £599 respectively.

The rest of the range is priced lower – the Alexa Tablet 8 starts at £200 with 4GB RAM and 64GB storage. The Amazon Alexa Tablet 11 starts at £290 with 8GB RAM and 64GB storage, and the Amazon Alexa Tablet 12 Pro with a standard display starts at £450 for 8GB RAM and 128GB storage.

All three Amazon Alexa tablets are available to pre-order now and will be released on 19th October.

MORE:

Read our iPad Mini 6 review

Also consider our Amazon Fire HD 8 (newest gen) review

These are the best tablets for movies and music

From the foyer, Forest Cinema seems just like your standard out-of-town multiplex. Trailers promote the latest films showing across its nine screens, and the shelves behind the tills teem with warm cabinets of sweet and salty popcorn, packets of M&Ms and churning vats of luridly-coloured slushie drinks.

But we're not in a retail park on the outskirts of commutersville, we're in the centre of Walthamstow, east London, just a popcorn kernel's throw from the bustling market that's the beating heart of the local community.

With a history in motion pictures that stretches all the way back to the 19th century, the family running Forest Cinema are better placed than anyone with its stewardship.

The Jervis family took over the site following Empire Cinemas' collapse into administration in 2023. But while the trappings of a cinema chain might remain, the focus has shifted: Forest Cinema is part of the Jervis family's six-strong portfolio of cinemas around the country, all housed in historic buildings and all rescued from the cinematic scrapheap.

It's a diverse bunch, taking in art deco styling (The Royal Cinema in Sutton Coldfield), the Grade II-listed former headquarters of Chubb Locks (Wolverhampton's The Lockworks Cinema) and multi-storey car park chic (The Island Cinema in Lytham St Annes).

But for all their variety, they all share the same ethos: a cinema that's focussed on serving the community with a diverse range of films, presented in accessible ways and at affordable prices.

Cinema Paradiso

"Forest Cinema encapsulates what we do," says James Jervis, director of the family firm PDJ Management.

"The area definitely needs a cinema, and our kind ties very well into the type of community around here. There are lots of independent businesses here, and we try to offer experiences crafted for this specific community rather than just the generic cut and paste that you get with the chains."

These experiences include dedicated autism-friendly screenings (where the lights are dimmed instead of switched off entirely and not every ticket is sold so it's less busy), as well as those for seniors and people with babies. They ran a whole series of screenings for Waltham Forest Pride in July, and when we speak, are planning their programming for Black History Month in October.

"Obviously we have to work within the constraints of the building [which is leased from Waltham Forest council] and its layout, but we've put our own spin on it by tying into what's going on in the community so that everyone's represented," Jervis says.

"We still want to offer all the things you expect when you go to the cinema," he adds, which might explain those nuclear slushies behind the till, "but we want to offer it at a price that people can afford, especially at this time," he adds.

Considering that a family of four can have a night at the movies for just over £20, Forest Cinema is definitely affordable. You also get all mod-cons, including 4K projectors and 7.1 sound in each screen – PDJ had to buy all the equipment new, as when they took over the site, everything had been stripped out by squatters. So they went for the best available.

In the beginning...

This kind of set-up is a far cry from the Jervis family's roots in cinema, which go back five generations.

Back in the 1870s, Tom Jervis showed "flickering pictures" at the Jervis Fairgrounds in the Lickey Hills outside Birmingham. These flickering pictures were an early iteration of a projector – "Imagine one of those flick books where as you turn a page, a man moves slightly in a very rudimentary form of animation," Jervis tells me.

"It was basically that but with a big lightbulb behind it to create a shadow that moved across a white sheet."

Rudimentary it may have been, but for the time, it would have been quite a spectacle. This was 20-odd years before the Lumière brothers held the first screening of their Cinématographe in Paris and effectively invented cinema.

The Jervis family opened its first 'proper' cinema in the 1920s, and by the 1950s had "30 or 40" dotted around the Midlands, Jervis says. But those venues were unrecognisable from those it has today – each only had a single screen and showed everything from the news and cartoons through to movies.

Gradually the cinemas were sold off one by one, with the last changing hands in the 1990s. That business was wound down before Jervis' parents started in the industry again in the guise of the current company, PDJ Management.

Their first cinema as PDJ was The Majestic in Kings Lynn, which is a Grade II listed building. James joined the family firm a few years ago.

Some of us would rather run a mile than work with our parents, but Jervis says it's very harmonious, with everyone on the same page in terms of the business model and what type of venues they should be targeting.

"Though our board meetings are probably a bit less formal than most companies'," he adds.

Back to the future

What with the boom in streaming and smartphones, cinema has had a rough ride of late. But Jervis says this is nothing new.

"It's been far worse in the past," he points out. "After VHS came out, UK cinema admissions dropped dramatically. Before then, cinemas could rely on playing the same films over and over, because there wasn't really any competition – TV only had three channels, and you couldn't record anything off the box.

"But then summer blockbusters really revolutionised cinema at a time everyone was saying it was dead. Then the spread of the multiplex led to another surge, and 2018 and 2019 were record years."

Those two years saw the highest UK cinema admissions since 1970, in fact. But we all know what happened next.

Despite the lockdown years and the growth of streaming, Jervis remains optimistic that cinema still has a place in the multi-screen environment that has grown up around it.

"Post-Covid, we've seen a really positive progression of our type of cinema – one that might have fewer seats than some rivals, but that offers a much better experience," he says.

Indeed, cinema as a medium remains remarkably robust. This August has been the best for UK cinema since 2018, and the second-best month overall since the pandemic. "It just goes to show, if the product is there, people will come," Jervis says.

I have one last question, one I'm guessing that most people who work in cinema are asked quite a lot nowadays. What would he say to someone who has the attitude 'Why would I go to the cinema when I can watch the same films at home on my sofa?'

His response is annoyingly diplomatic.

"Deliveroo boomed during Covid, and it's a similar situation – some people want restaurant food at home, some want it out," he says. "There's space for both to co-exist."

But despite this even-handedness, he is passionate about what cinema can offer.

"To thrive, cinemas need to make the experience something you can't get in your living room," he says.

"When you walk into a cinema and the screen is 15 metres across, and you're with 100 other people all laughing at the same jokes and crying at the same scenes – that's something you can’t replicate at home. That communal experience is becoming rarer and rarer nowadays, and cinema is a really accessible way to get that."

After all, isn't that what communities are built on?

MORE:

Having said that, here are the best projectors for home use

I watched Inside Out 2 at an Onyx LED cinema and now my local cinema is ruined

Making an outdoor home cinema? I have one big tip for better movie nights under the stars

So What Hi-Fi? is 50 years old, and the current crew of the ship has been delving back into the archives to uncover key moments. Nice.

I was there, way back when, joining as assistant editor under Simon Davies in 1988. Things were different. There were no computers. There were no listening rooms. We charged extended lunchtime pub tabs to expenses, because they were “essential meetings”. (I’ve checked with my accountant, and should this be challenged, they can’t reclaim old expenses, and besides, I’ve left the country.)

I was only around for a decade, and abandoned it all to go backpacking for more than three of those years, rather unexpectedly becoming editor on my return, then swanning off to Australia four years later.

Yet along the way I witnessed scandals, got us sued over the new recordable CDs, and began to realise I was part of a team that revolutionised how What Hi-Fi? moved ahead into the following decades. Are you sitting comfortably? Then I’ll begin.

No computers, no listening rooms

I arrived on my first day at What Hi-Fi? to find a manual typewriter on my desk. This turned out to be a group chuckle at my expense; I was soon assured I could have an electric one.

Instead, I started off using my own little standalone word processor, which could keep 32 characters in its 4kB memory before sending it to a dot-matrix printer. But before long I was given an impressive electronic typewriter, which could store a whole line of type before chattering it out.

Equally existentially, there were no listening rooms either. The What Hi-Fi? house staff were neither reviewers nor technical specialists, but rather talented journalists and editors, writing news (Saul David, now a huge history author, and Dan Houston, now messing about in boats), getting music interviews (Hazel Southam’s contact book was second to none), and compiling the all-essential Buying Guide.

This last task was unthinkably complicated prior to computers – a mystery of arcane compilation – yet it was always complete, accurate, and on deadline for every issue thanks to the magnificent Caroline Osborn, a true bringer of office joy.

Only our technical editor, Andrew Everard, could be relied upon to actually know stuff about hi-fi.

I was a partial exception, having snuck in from an electronics magazine with a strong musical background, and with parents who had worked in BBC Radio. But the rest of the staff were simply magazine makers who might suddenly be reallocated from Gardeners' Chronicle or Practical Caravan. My second editor, Mark Payton, came from the latter, which was a bit of a bugbear for him among certain people in the hi-fi industry until he proved himself extremely capable in his new sphere.

Under his leadership, we rejigged and expanded the annual What Hi-Fi? Awards, introducing price categories for the first time, thereby greatly expanding the number of possible winners, and making them far more useful to readers of all budgets.

Making the magazine

The actual reviews, meanwhile, were written mainly by external freelancers working in their own homes. Their reviews would arrive on the fax machine as long, continuous sheets of thermal fax paper; we would make edits by cutting them up and rearranging the pages while scribbling corrections on them with proper traditional proofing marks, before sending them away to the typing pool, whose inhabitants were equipped with cool IBM ‘golf-ball’ typewriters.

Their output would go off to distant typesetters, to return as long lengths of justified ‘bromide’ columns. Art editors (Marty and Frank) would cut these up and stick them onto a tracing-paper page layout with lovely-smelling Spray Mount adhesive, adding spaces for pictures. These were sized up by viewing photographic slides through a vast optical machine called a visualiser, which projected the slide upwards onto the layout, enlarged by physically lifting the lenses up and down.

Back then, What Hi-Fi? took its own pictures, original slides from in-house (actually in-garage) photographer Steve Waters, the best black-box photographer in the business. These would be sent to the printers for scanning and insertion into the final offset printing plates – all monochrome in those days, though sometimes with a section or two which lavishly overprinted a single ‘spot’ colour. These brave splashes of colour routinely drifted a good few millimetres off target.

The only way to check the accuracy of those plates was to go down to the printers for a ‘press pass’, either in Whitstable, where we drank in pubs which had buckets of oysters behind the bar, or in Cornwall, which demanded an overnighter. Any corrections at press stage were nightmarish, requiring you to scalpel off bits of text and carefully re-space them before an expensive replating.

On more than one occasion I would return home to find, with mild panic, that a word or a paragraph was stuck to my elbow with Spray Mount and had probably failed to make it into the magazine. Any final issue deemed completely free of any errors would be great cause for celebration, certainly justifying a full pub afternoon on expenses.

All this to and fro of proof bags required a constant stream of motorcycle couriers at fixed times of the day. The biggest disaster which could befall a magazine was a motorcycle crash in which layouts were damaged, or original photographic slides lost en route to the printers, requiring alternative frames to be rapidly sourced, resized and re-despatched.

Moving magazines

We had three hi-fi magazines back then. The others were New Hi-Fi Sound, which became High Fidelity under the wonderful Rahiel Nasir and then pivoted to home cinema as V.TV under the great Andy Clough, and Hi-Fi Answers under Keith Howard. Keith was a genuine legend of hi-fi authorship, and one of only three in-house editorial staff who also undertook reviews, along with Jonathan Kettle and Andrew Everard.

The other legendary writers were external: Malcolm Steward, Alvin Gold, Jimmy Hughes, Paul Miller. I don’t recall ever meeting them until 1990, by which time I had risen from assistant editor to deputy editor after the departure of Liz Porter, wife to later BBC director-general George Entwhistle (who had himself been an editor of New Hi-Fi Sound until just after I joined What Hi-Fi?).

Then, as now, a rise in job title did not necessarily come with a rise in salary, but I was offered quite the boost to take over the editorship of Hi-Fi Answers, just as it was transforming into a new title with full-colour sections: Audiophile, initially called Audiophile with Hi-Fi Answers.

I initially refused it, I think; I knew absolutely nothing about the high-end audio on which the magazine would focus. With Keith’s departure the job should have gone to Jonathan Kettle, which it later did. But I was cajoled and bribed into it, and my first task was to go on a tour of the homes of all those legendary contributors. They were rightly wary of this relative youngster rejigging their magazine; one of them particularly shocked to find I didn’t know what a KT88 was. But they generously gave their time to assist in my hi-fi education.

In fact, I must thank them for changing my whole hi-fi life. I had grown up in BBC studios; we had Spendor BBC speakers at home (I’ve still got ’em); I knew what good sound was. But Malcolm Steward had me sit on the floor in front of his Linn/Naim system and, knowing me to be a fellow Zeppelin fan, dropped the needle of his LP12 on Zep II’s Moby Dick.

People often talk of their first hi-fi revelation; this was mine. Bonham, then only a decade lost to the world, was there in front of me. I never looked back.

Alvin Gold favoured MartinLogan electrostatics and demonstrated those to me – another revelation. With Jimmy Hughes the revelation was his vast music collection; a pleasing confirmation that these guys were really music fans first and foremost, with hi-fi being a means to the end.

While I made some cracking issues of Audiophile with Jonathan and sub-editor Gary Cockburn in support, the ways of the high-end were just too esoteric for me (30 years on, I’m still very much a midrange guy). After a year of Audiophile, I quit and went travelling for the next three-and-a-half years on a budget of US$50 a week. (I took with me one of the new Aiwa portable DAT recorders, with the odd idea of recording silences around the world.)

In my last paycheck I received the NUJ-negotiated ‘new technology bonus’, but I missed the typewriters being swept away to be replaced by the computers which had been in storage for 18 months while the NUJ dispute dragged on. I remember marching on the street with the NUJ back in the day, though that was primarily to hang out with an attractive activist I’d met on one of the many training courses that were compulsory back then.

As a new arrival at What Hi-Fi? I had been signed up immediately for at least 20 compulsory courses run by the company or externally: headline writing and subbing, interviewing, legal instruction on how to avoid malicious falsehood in a bad review.

I soaked it all up, though I still managed to get the magazine sued after my return from travelling. But at that point I was ego-free and non-materialist after a year in India, and far better suited to the editorship of What Hi-Fi?, which I was surprised to be offered on my return by a very brave Bruce Black, then Group Editor.

We were sued in 1998, I think, not for a careless bad review (heaven forbid) but by lawyers for the band The Verve. Their album Urban Hymns was at that point our favourite office CD, and we regularly praised it in print, contrasting its sound with the hideously crushed production of Be Here Now by those noisy Manchester upstarts Oasis.

So when the first affordable consumer CD recorders arrived, we ran a coverline saying ‘Make your own CDs’, with a picture of the Verve CD on one side, and a blank CD-R on the other, with Urban Hymns written on it with a Sharpie.

I had been anticipating trouble here, potentially being seen to encourage illegal copying, so it all went through the company lawyers before publication, and they signed it off as fine. Which it was. The Verve’s people instead sued us for unauthorised use of the image of the band, which was on the CD itself.

We prepared a defence – the CD was provided by the record company’s PR for use in the magazine – but sadly the amount they wanted was slightly less than the cost of defending the case, so the claim was paid. Still rankles.

Bringing it in-house

When I rejoined the magazine, computers were not the only change; the decision had been made to build a listening room, and to bring all reviewing in-house. This was a huge and expensive call which entirely reshaped many aspects of the magazine, and I doubt it could ever have happened were it not for the unusual board structure of Haymarket, the original publishers of What Hi-Fi?. This board had to include one director who had come up through the advertising ranks, one member from editorial, and one member from design.

It was a brilliant mechanism for informed and bold decision-making, and I’m sure it was our Australian editorial director Mel Nichols, ex-editor of Car magazine, and the unpredictable but brilliant design director Paul Harpin upstairs that got it pushed through, along with publisher Kevin Whitchurch. I thank them all.

The whole idea was surely spearheaded by the technical editor Andrew Everard, who must take much of the credit for both the concept and the listening room (which later became three listening rooms and a stock cupboard taking up an entire wing of the Hampton Road offices).

I came in at the end of the process. The external writers were being offered in-house positions but didn’t take them up; they could still write for the other two mags, but they clearly weren’t happy. I saw Paul Miller recently and he reminded me that the first move had been to remove names from reviews, in order to create a magazine ‘voice’, something to which I still adhere with my current magazine in Australia, Sound+Image.

“But then you brought the kiddies in,” Paul continued ruefully, referring to the new recruits who were hired and trained up, technically under Andrew and editorially under myself and the Haymarket training programme.

These kiddies grew up quickly: Tim Bowern, now in PR, was a long-haired energy ball whose good looks we roundly abused in daft pictures for magazine side-panels; Andy Kerr was master of the new AV room when it was built and is now audio guru for Bowers & Wilkins; Ketan Bharadia needs no introduction as he is now What Hi-Fi?’s technical editor – he claims I interviewed him for the job, but I really can’t remember. (I also can’t remember working on either article about the test rooms, as reproduced in a recent piece; perhaps this is all due to various new habits adopted during my travels.)

But key to the magazine ‘voice’ idea was that everything would be heard by more than one reviewer, a cross-check system to ensure we could all speak for the veracity of opinions and accuracy of reviews. Working in-house also saved a fortune on couriering kit back and forth for review and photography; it also hugely simplified the later selection of Awards, as everyone was more or less on the same page.

In 1998 I presented my final Awards night, accompanied by a lovely Canadian girl I had met in Hong Kong while visiting Cambridge factories with James Johnson-Flint (on a trip which could make a whole separate article). With her I then absconded to Australia, a continent across which she had just walked, and eventually we were married by Elvis in Las Vegas, as you do, with a honeymoon on Route 66 before attending CES 2007.

Finally, a defence of the magazine. People talk a lot of rubbish about What Hi-Fi?, primarily because it is so successful. I can 100% assure readers that there was never any bias or industry influence when I was there; the advertising sales team never even knew what products were going in each issue until it landed on their desks.

Knowing Ketan and some of the current team, I’m sure that hasn’t changed, just as the core methods put in place in the 1990s remain. It is now streamlined for joint publication online and in the print magazine, which I’m thrilled is in the ultra-safe hands of Jonathan Evans, my former production whizz when I was briefly recalled in 1999 to relaunch Stuff magazine, with a fantastic team and an editorial budget so astronomical it would make any magazine editor today simply weep.

We spent a lot of that in the pub, of course.

MORE:

Read all our 50th anniversary features

I edited What Hi-Fi? through the era of plasma TV, SACD and the iPod – and an infamous cover catastrophe

“I have never been happier” – 4K Blu-ray, OLED TVs, Dolby Atmos, and six unforgettable years as editor of What Hi-Fi?

There's just this evening to go in Amazon's Big Deal Days sale, October's version of the Prime Day event that has slowly taken over the commercial calendar.

And with it have come deals – a lot of deals. While this might sound like a good thing on paper, it does mean sifting through the deluge to find hidden gems.

• All the latest Amazon Big Deal Days savings!
• Don't forget to check Richer Sounds for deals too!
• Peter Tyson also has some compelling deals running!
• Sevenoaks Sound and Vision's top savings

Luckily, as What Hi-Fi?'s resident deals writer, I've done just that. I've found products that our expert test teams have personally reviewed, and I've separated the ones we actually recommend from those we advise you miss.

It's been a particularly good sales event for projectors, headphones and other audio equipment, so I have a selection of those below. Everything here has been put through the wringer in our dedicated testing rooms, but only half have earned a What Hi-Fi? recommendation.

Curious to see the winners and losers? Let's take a look below...

Audio deals to avoid

Audio deals I'd buy instead

The Amazon Echo Dot Max is seeing a healthy discount right now, but it's still not enough to tempt us after its poor sound quality earned it a measly two stars. We'd urge you to buy the Echo Dot (5th Gen); it's cheaper, sounds better and is the smarter buy overall, with a nice finish and well-integrated Alexa smarts for a great value price.

The Sony ULT Wear are a rare misfire from Sony, with a sound that sounds either too enthusiastic and bass-heavy, or simply too lacking in the basics of dynamics and detail. The Award-winning Sony WH-CH720N are far better value, with great sound, solid build quality and impressive active noise cancellation for the money. The newly released Sony WH-CH730N sound even better if you're willing to shell out a bit more.

A lot of the middling reception to the Beats Studio Pro was due to the price, so this large discount isn't a terrible deal. However, if you can spend a bit more, the Sony WH-1000XM4C will reward you with more spark and musicality. They're fresh off a five-star review and are one of the standout models of 2026.

Projector deals to avoid

Projectors I'd buy instead

The Anker Nebula Capsule 3 might look tempting at first glance, but we weren't blown away by its picture, which was limited by its 200 lumens of peak brightness. The Xgimi MoGo 4, however, packs a decent punch with its picture performance, and a colourful and engaging image despite its size.

The futuristic Soundcore Nebula X1 Pro was quite the head-turner in our test room, but the picture and sound quality couldn't justify its high asking price. While this hefty discount does help, the original Nebula X1 is a far better value portable 4K projector and the model we'd recommend. It's now at its lowest price.

MORE:

The best Amazon Prime Big Deal Days savings on headphones, OLED TVs, Dolby Atmos soundbars and more, direct from our experts

Our pick of the best wireless headphones you can buy

And the best projectors for all budgets

Sony’s budget smartphones have filled a very specific niche for us for several generations. Pairing an affordable price tag with a strong set of AV-focused features, previous entries in the Xperia 10 range have really resonated with us.

The Xperia 10 VIII – that’s “mark eight”, not “vee-eye-eye-eye” – is the latest budget smartphone in Sony’s now just two-model lineup (the other model is the flagship Xperia 1), and it retains a lot of the features we applauded in its Award-winning predecessors.

However, with tough competition from Apple’s new affordable iPhone series, is the Sony Xperia 10 still a prime device for budget-conscious AV fans who need a handset that excels for movies and music?

Price

At just £549, the Xperia 10 VIII hugely undercuts every other phone we’ve reviewed this year. The Samsung Galaxy S26 Ultra (£1279 / $1300 / AU$1799), Apple iPhone 17 Pro (£1099 / $1099 / AU$1999) and Samsung Galaxy Z Fold 8 (£1699 / $1899 / AU$2699) all massively outprice the Xperia 10 VIII. Of course, those models all have more premium features, specs, and build quality to justify this.

Instead, the Xperia 10 VIII is aligned with other budget handsets on the market, such as the Apple iPhone 17e (£599 / $599 / AU$999), Samsung Galaxy A57 5G (£529 / $549 / AU$749) and Google Pixel 10a (£499 / $499 / AU$849). While we haven’t tested those models, we have reviewed last year’s iPhone 16e, and can therefore use it as a benchmark device.

You’ll notice that we haven’t listed pricing for the US or Australia, and that’s because this handset isn’t available in either country. Those familiar with Xperia devices will know that Sony hasn’t sold its smartphones in these regions for quite some time.

Design

Sony’s budget Xperia smartphone series has been unapologetically constructed almost entirely from plastic for many years now, and the Xperia 10 VIII is no exception.

It sports the same rather smart redesigned look introduced with last year’s Xperia 10 VII, with a horizontal rounded camera bar that spans the width of the device bearing the two cameras and the Sony branding.

The smooth frosted plastic back feels pleasant to the touch, but it picks up and proudly displays fingerprints and smudges a little too much for our liking, especially in the Frosted Grey finish of our review sample. The 10 VIII is also available in Frozen White – which we have seen and has a really appealing subtle blue-ish hue – and Misty Lilac.

The device is surrounded by a plastic frame, which bears a few ports and buttons of note. On the bottom you’ll find a USB-C charging and data port; on the right is a volume rocker, dedicated camera shutter button, and combination power and lock button with an integrated fingerprint scanner; and on the left edge is the SIM tray, which also features a spot for a micro SD card.

That final feature is especially appreciated, as we rarely see it on other handsets these days, and those with large owned media libraries who wish to load music and movies directly onto the device will be able to do so.

However, the best feature can be found on the top edge of the device; yes, you guessed it, it’s a headphone jack. This unicorn of the smartphone world is still alive and well on Sony smartphones, and while the Xperia 10 VIII doesn’t feature the premium components derived from Sony’s Walkman division that can be found on the flagship Xperia 1 VIII, it’s still a sight for sore eyes for audiophiles such as ourselves.

The Xperia 10 VIII’s display is covered by Corning’s Gorilla Glass Victus 2 coating, which should make it more resistant to scratches and cracks – we’re hesitant to launch our review sample toward a concrete floor, however, so we’ll have to trust Sony on this one.

Features

The main attraction of the Xperia 10 VIII is the 6.1-inch Full HD+ OLED display. It features a 1080 x 2340 resolution, a nippy 120Hz refresh rate, and an aspect ratio of 19.5:9.

Once upon a time, Sony handsets shipped with 21:9 displays that made portable movie watching a dream, as typical movies would fill the screen from corner to corner. Those days are, unfortunately, behind us now. That said, the more conventional aspect ratio has its benefits, namely when it comes to app optimisation and 16:9 video playback.

Interestingly, Sony is touting a significant boost in brightness this year – 50 per cent to be exact. While it hasn’t given an exact brightness figure in nits, this display should be more versatile when it comes to outdoor viewing in bright sunlight, and we expect it to handle HDR video better too.

Speaking of which, this budget smartphone can play back video in HDR, but this is your run-of-the-mill HDR10 format rather than HDR10+ (which is supported on Samsung Galaxy phones and iPhones) or Dolby Vision (which is also commonly found on iPhones).

Sony is proudly presenting the front-firing stereo speakers as a leading feature of the Xperia VIII. Flanking the display at the top and bottom of the device, these speakers are reportedly 15 per cent louder than those of last year’s model, and bass is an impressive 30 per cent deeper, too, according to Sony.

There’s also the headphone jack to be mindful of for wired audio, and wireless audio is supported via Bluetooth 5.4. Sony’s LDAC codec is on board for wireless high-resolution audio, alongside Qualcomm’s aptX Adaptive codec for supported headphones. Sony’s 360 Reality Audio and DSEE (Digital Sound Enhancement Engine) Ultimate also feature.

Moving away from the AV features, the Xperia 10 VIII sports Qualcomm’s Snapdragon 6 Gen 3 processor. Interestingly, this appears to be the same chipset as last year’s Xperia 10 VII. It’s backed up by 8GB of RAM and 128GB of storage, which can be expanded via microSD, as mentioned.

Running the show is Android 16, with Sony’s minimal skin running on top. While Sony opts to keep most things stock, it’s missing a few creature comforts from other phones, such as a dedicated weather widget and app drawer customisation, and it can look a bit barebones and dated compared with other mobile operating systems.

As is the case with almost every modern Android phone, you’ll find Google Gemini and a range of AI features within the camera app.

That said, Sony is also only promising “up to four” operating system upgrades and “up to six years” of security updates, while its rivals are offering around seven years of OS updates in comparison.

Sony certainly wins back some ground with its battery life claims, though. The 10 VIII has a 5000mAh cell crammed inside – that’s the same size as the much more expensive Samsung Galaxy S26 Ultra – and it can reportedly last for two days on a single charge. Sony has also implemented an optimised charging system which will reportedly ensure that it keeps a healthy capacity for up to four years.

Rounding things out with the cameras, the Xperia 10 VIII sports three in total: a 50MP main sensor, a 13MP ultrawide camera, and an 8MP front-facing selfie camera. While megapixels don’t tell the full story, our testing proves that these cameras are fine for day-to-day shooting, but are easily outclassed by the step-up models on the market.

Picture quality

Sony’s budget Xperia smartphones have, in the past, caught us off guard with picture performances that are much better than their price tags suggest, and the Xperia 10 VIII continues the trend.

We’ve loaded a range of streaming apps onto the phone, including HBO Max, Amazon Prime Video and Apple TV to assess the picture quality, and we have the iPhone 16e on hand as a reference device.

Before we get stuck properly into testing, we have a controversial piece of advice when it comes to our preferred display settings.

Sony offers a Custom picture preset that it says is better for video content, as it tweaks the display to provide warmer colours and target a more “Filmmaker Mode-like” experience. Somewhat surprisingly, we prefer to leave this off and stick to the default settings, as our testing reveals that it dulls and flattens the picture in the pursuit of a more authentic experience.

Sony has squeezed an impressively cinematic image from this budget handset. It’s crisp, impressively bright, and balanced, especially during the introduction of F1: The Movie on Apple TV. Highlights and colours pop without looking overpronounced, and the image has a sense of depth and solidity that enhances realism.

Switching to Blade Runner 2049 on Prime Video, the Sony presents the opening sequence with a sharp, detailed and balanced image that instantly draws us in. Detail levels are solid across the board, and the horizon seems to stretch on endlessly in an aerial shot of the solar panel farm.

Motion is impressively consistent too, with a difficult panning shot and a tracking shot of Officer K’s drone scoping out Sapper Morton’s protein farm both handled well by the Sony. We do notice some subtle banding in the fog throughout this scene, but it’s certainly not offensive.

What is most striking, however, is how the Xperia 10 VIII utilises its higher brightness capabilities. The picture really pops, especially with animated content such as Spider-Man: Across The Spider-Verse, also on Prime Video.

Compared head to head with the iPhone, the Xperia 10 VIII’s punchier, sharper and brighter image ensures that the Sony outpaces its Apple rival in the picture department.

Sound quality

Sony has already scored bonus points by including a headphone jack on the Xperia 10 VIII, but it’s only useful if the phone can meet our expectations when it comes to sound quality.

The good news is that the 10 VIII excels here too, offering a crisp, clean and balanced sound that makes it an impressive portable music player for the money. The opening guitar plucks of Taylor Swift’s Babylon sound impressively natural, and the ensuing vocals sound full and textured.

Switching to Retrograde by James Blake, the Sony sounds suitably spacious and open, while also remaining organised and timing well. As the track swells to introduce an array of electronic elements at the mid-point, the Sony remains consistent and ensures each effect has room to breathe.

The Sony misses the mark slightly on delivering a big dynamic punch here, which dampens the dramatic effect of this shift, and bass could have more weight and punch, but Sony’s focus on sonic subtleties should be commended.

Comparatively, the iPhone delivers a touch more warmth and cohesion, but you’ll need to step up to the pricier iPhone 17 for a real leap in audio performance.

Unplugging our headphones to try the Xperia’s reportedly upgraded speakers, we find Sony’s claims of upgraded bass ring true. With Blade Runner 2049, there is some genuine impact to the thuds of Sapper Morton slamming Officer K into, and subsequently through, a wall.

Furthermore, the speakers benefit from being front-firing, mostly due to them being harder to block when holding the phone in a landscape orientation.

At the end of the day though, while these are decent stereo speakers in terms of clarity and detail, they are smartphone speakers – the sound generally doesn’t carry much weight, and it’s not particularly spacious.

Given the price of the handset, we deem the speakers to be plenty good enough for a spot of out-loud movie watching; just be sure to hook up a Bluetooth speaker for music.

Verdict

Sony’s impressive affordable Android smartphone range remains a solid choice for budget-conscious AV fans who need their smartphone to do justice to movies and music, and that pocket-sized OLED display is an ideal option for on-the-go cinephiles.

SCORES

• Picture 5
• Sound 4
• Features 4

MORE:

Read our review of the Apple iPhone 16e

Also consider the Apple iPhone 17

Best smartphones: the best phones for music and movies

We've reviewed projectors in all shapes and sizes over the past couple of years, and there's one form factor that's taking the industry by storm as we speak.

The lifestyle projector – or you may have heard of them being referred to as coffee table projectors – is the hot home cinema topic at the moment, with manufacturers such as Epson, Xgimi and BenQ all launching cute cuboid projectors that can beam pictures north of 100-inches with ease.

They're essentially a full home cinema system in a box, offering picture, sound and (more often than not) streaming smarts, allowing users to plonk them onto their table and get stuck into their favourite movie, TV show or video game.

However, there's one particular model that we've been championing since the 2025 What Hi-Fi? Awards, and it comes from Hisense. The M2 Pro is a brilliant all-in-one system, delivering an Award-winning picture experience and a built-in smart platform that allows you to turn your living room into a fully-fledged home cinema.

We showered it with praise at its £1299 launch price last year, but Amazon's current Prime Big Deal Days sales mean that you can snag it for just £814.

The Hisense M2 Pro is capable of beaming an image up to 200 inches, with Hisense claiming a peak brightness figure of 1300 lumens. This should be plenty bright enough to combat ambient light in most living rooms, although our TV and AV Editor, Tom Parsons, found that it's not quite bright enough for outdoor viewing.

Considering that this projector requires power from a mains plug at all times, that's no great shame.

The projector is in its element indoors, however, as it offers a consistently crisp and colourful image that never extends beyond its own capabilities; a notable hurdle at which we've seen many other lifestyle projectors stumble.

It's very capable when it comes to retaining dark detail and punchy highlights alike, all thanks to its solid handling of contrast. We also find motion to be impressive, provided you switch it to the Film motion preset; our recommendation is to stick with Filmmaker Mode overall, as this takes care of the settings for you.

This projector also comes with a 10W 2.0 channel speaker system built in. While it will never match a proper surround sound system, or even a decent soundbar, the M2 Pro's speakers are handy to have in a pinch, and we even commended it on delivering "a surprising amount of sound volume for such a small package".

It prioritised dialogue during our testing, which is the most important aspect after all, making it perfectly usable for those who don't already have an external sound system to hook it up to.

Speaking of hooking things up to the projector, the M2 Pro sports a single HDMI socket, which doubles as HDMI eARC if you do plan on tying this into a wider home cinema system.

While that may seem stingy, it's enough to hook up a Nintendo Switch for a sport of Mario Kart, and with the built-in Vidaa smart system offering a wide array of streaming apps, we're willing to bet that most people will never get around to using that HDMI socket.

At £482 off its original price on Amazon, the M2 Pro is a convenient projector that doesn't skimp on picture performance. It's a hidden gem in the projector world, and one that I'm always eager to shout out when a sale arises.

MORE:

Read our full Hisense M2 Pro review

As well as our Hisense PX4 Pro review

And check out the best Amazon Prime Big Deal Days offers here

The demise of the Astell & Kern A&norma SR35 has not been music to our ears. There aren’t many outstanding hi-res portable music players on the market, with the multiple Award-winning SR35 holding firm within something of a niche product category as one of the few devices that really cut the mustard.

Happily, nature abhors a vacuum, and so into the yawning chasm left by the outgoing A&norma SR35 comes the PD5, Astell & Kern’s latest portable music player designed to deliver hi-res audio in the palm of your hand.

The price of the Astell & Kern PD5 has gone up – from £799 / $799 / AU$1299 to £899 / $1049 / AU$1399 – meaning that the new kid on the block is going to have to work that much harder to prove itself worthy of consideration.

Given its stellar reputation in this category, if anyone can do it, it’s Astell & Kern.

Build & design

From the outside, the Astell & Kern PD5 is a definite departure from the player which preceded it.

The newer model is a little taller than its predecessor, with a 12cm height that edges towards a full-grown iPhone 15, but it’s still easy to carry in one hand and place in your pocket. At the top of the unit are standard 3.5mm and 4.4mm balanced headphone connections alongside a power button, while a trio of vertically arranged play/pause and track-skipping buttons adorn the left side.

A pleasingly tactile control wheel sits alone on the opposite side for adjusting your volume by satisfyingly incremental clicks.

So far, so standard for Astell & Kern, but place the PD5 next to the outgoing SR35 and the differences are clear. Gone is the old model’s slanted screen – which sat at a slight angle against the main chassis to give the player a sharp, almost Art Deco look – replaced by a display that now sits straight within the outer frame.

The new model feels different in hand, too. Whereas the SR35 felt satisfyingly substantial, the PD5, despite weighing a touch more, feels somehow less dense and not quite as premium. Still, it is nice that there are no longer any sharp edges that might snag on our clothes. It is also fair to say that the new look is cleaner and less fussy.

The new portable player’s 4.1-inch display takes up most of the unit, save for a block of empty space at the bottom end. It’s a good display, too, showing text information and album artwork with pleasing sharpness and clarity. Our only issues arose when we took our PD5 outside and, even in the gloomy British autumn, we sometimes struggled to see what was playing thanks to an excessively reflective screen.

Unlike some rivals, the Astell & Kern player features a stripped-down version of Android OS that keeps the focus on your music library and doesn’t have any unnecessary additional bloatware. The PD5 is reasonably effective in its overall operation, although it’s not quite as slick and fast as a modern smartphone, such as when typing on its keyboard, and we wish Astell & Kern would address this in future models as it’s something we noticed in the previous SR35, too.

Overall, the PD5’s interface is nicely laid out and easy to navigate across the simple menus, giving you easy access to your library of hi-res tunes, streaming apps and device settings thanks to its logical, uncluttered layout.

Features

Despite its primary function as a portable music player, the PD5’s extensive feature suite grants it impressive flexibility.

The PD5 gives you the option to choose how many of the eight Cirrus Logic CS43198 DAC chips work at any time, so you can either choose four of them to work in parallel, or the full quota. The sonic dividends are bountiful if you choose all eight – the sound is far punchier and more expressive when fully unleashed – but doing so will significantly slash the device’s battery life.

The new Astell & Kern will get to around 28 hours of playback in standard ‘Quad’ mode, but this will drop to around 15 hours with all eight DACs employed. If you get low on juice, it takes around 2.5 hours to charge your device to full capacity.

The A&K PD5’s file support is extensive, supporting hi-res tracks up to 32-bit/384kHz PCM and native DSD256, and the unit’s internal 64GB storage capacity can be expanded by up to 1.5TB using a microSD card for large libraries.

For those wanting wireless compatibility, the higher-quality aptX HD, LDAC and LHDC Bluetooth codecs are available too. We imagine that, if you’re paying this kind of money for a dedicated hi-res player, you’re likely to spend most of your time listening via wired headphones for the higher-quality sound they tend to provide, but the PD5’s stable, solid Bluetooth performance is welcome all the same for those that want the extra convenience.

Four digital filter options are available, ranging from a default ‘Low Latency Fast’ option to the punchy character of ‘Phase Compensated Fast’. They’re fun to play around with and are all distinguishable from one another, but we settle on the natural, reasonably neutral balance of ‘Low Latency Slow’ during the majority of our testing.

For further tinkering with your sound, a 10-band equaliser is provided, or you can go really fancy and use the advanced EQ settings to plot your desired frequency response across a coordinate plane graph.

Dual-band wi-fi (2.4/5GHz) grants solid network stability, and you can download popular streaming service apps such as Tidal, Qobuz, Amazon Music, Deezer and Apple Music from the Google Play Store.

The PD5 can even be used as a dedicated desktop DAC for your laptop. Simply connect the player to your laptop via a USB-C cable, select DAC mode from the drop-down menu, and the PD5 will process audio via its internal Octa-DAC architecture.

Away from the confines of your desk, a new switchable feature called EnviroTune analyses your surroundings and optimises the sound for the level of ambient noise detected, with the aim of keeping your music clear and consistent no matter your environment.

The technology works as it should, with playback retaining its core character without our being able to sense any synthetic processing working away in the background.

Sound

£899 / $1049 / AU$1399 is a considerable sum to pay for a portable music player.

As such, we use a variety of headphones during our testing period. We dig out the budget-friendly Røde NTH-100 (£149 / $149 / AU$249) as our starter pair of wired headphones, as well as the more premium and revealing Beyerdynamic T1 (3rd Gen) (£899 / $999 / AU$1599) and, for testing the unit’s balanced connection, the audiophile-centric Sony MDR-Z1R (£1700 / $2100).

For open-backed listening, we also use the Grado SR325x (£247 / $295 / AU$425) and the Award-winning Beyerdynamic DT 990 Pro X (£189 / $199 / AU$399).

No combination leaves us feeling disappointed. Overcoming the marker laid down by the superb A&norma SR35 was never going to be easy, but the new PD5 is a clear step up from the model it now replaces. Yes, that price increase is tough to take, but our testing soon reveals that the newer model justifies its extra outlay by making significant strides in out-and-out sonic ability.

It’s unquestionably clearer and more detailed than its predecessor, serving up an expansive, uncluttered soundscape in which instrumental textures are sharply drawn. Listening to a 16-bit/44kHz FLAC recording of Agnes Obel’s Fuel To Fire reveals the strides Astell & Kern has made in revealing greater textural detail as the new player starkly reveals the full lifespan of each piano stroke as it lands, resonates and then decays back into inky silence.

The PD5 showcases further talents with regard to its class-leading organisational abilities. Regardless of genre, our music has an expressive, three-dimensional cohesiveness that makes tracks such as Radiohead’s Reckoner sound enthralling and wonderfully immersive, and the A&K picks apart the dense cacophony of Slipknot’s Left Behind to provide each varied instrument its own space to shine.

Astell & Kern’s hi-res player has a wonderfully natural way with dynamics, favouring a controlled yet expressive approach that shines on tunes such as Massive Attack’s Atlas Air or a DSD64 recording of Michael Jackson’s Billie Jean. Nothing here sounds forced or mechanical – instead, changes in volume move as naturally as sands shifting on a windswept dune.

The PD5 is happy revealing the capabilities of any of the headphones we choose to pair it with, but you can also choose to integrate it into a fully fledged stereo system, something we try out by connecting the player via the 4.4mm balanced output to our reference system of Burmester 088/911 Mk III pre/power amplifier and ATC SCM50 speakers.

Acting as the system’s dedicated DAC and music streaming source, the Astell & Kern player does surprisingly well slotting into such a high-end set-up, with Fuel To Fire retaining much of the delicacy and agility we enjoyed when listening via wired headphones. This flexibility further justifies the portable player’s high price, and its performance is good enough that you could potentially use it in a more modest, price-appropriate hi-fi system without needing to invest in separate DACs or streamers.

Even if you’re not planning on using your premium portable player as part of a hi-fi set-up, you can give your laptop a boost by connecting it via USB-C and engaging the PD5’s desktop DAC mode. Once more, the player’s talents shine through, confidently outstripping the respective built-in DACs of our Lenovo ThinkPad and MacBook Pro 2026 laptops for instrumental detail, expressiveness and overall clarity.

We even give the PD5 a chance to flex its Bluetooth powers by streaming a 24-bit/96kHz FLAC rendition of Fleetwood Mac’s The Chain to a pair of Bowers & Wilkins Px7 S3 wireless over-ears, and it happily obliges. While Bluetooth isn’t the most transparent means of transmission, it’s hard not to marvel at just how much of that expressive, natural character is retained within the snap of the drums or the layered wails of Nicks, Buckingham and McVie.

Whatever the context, the PD5 proves its worth. No matter the headphones with which we pair it or the system into which it integrates, its obvious talents continue to shine through.

Verdict

Despite the hefty price tag, the PD5 remains a great buy. If you’re looking for an exceptionally detailed, refined and dynamic sound that brings your hi-res music library to life – along with plenty of extra functionality – this Astell & Kern portable music player is the one to pick.

Review published: 7th October 2026

SCORES

• Sound 5
• Features 5
• Build 4

MORE:

Also consider the FiiO M11S

I used an affordable portable music player for two weeks: here are 3 things I liked and 3 that I didn't

Best portable MP3 players: our expert picks of the top hi-res music players

If you're looking to elevate your desktop music listening or simply want to swap out your wireless earbuds for a wired pair (as is trendy these days), then Sennheiser has two wired models that are worth your attention.

We've tested both the Sennheiser HD 505 open-back wired over-ears and Sennheiser IE 200 in-ear headphones, praising their comfortable design and clear, smooth performance for the money. Both models are a great stepping stone into audiophile territory – Sennheiser has a strong 80-year reputation in the headphones market, and these models give a taste of what you can expect from the brand's more premium, five-star models.

The IE 200 and HD 505 are also on the affordable side, and you can even save a chunky amount off their full price if you check out Amazon's Big Prime Day sale that ends today.

The HD 505 are yours for £155 at Amazon (a big £75 discount), while the IE 200 are available for just £82 at Amazon (down from £130). So if you've been looking for the right time to treat yourself to a wired headphones upgrade, now could be the time to pounce.

Despite being very different headphone designs, both Sennheiser models have one thing in common: they're a likeable listen right from the start.

The IE 200 in-ear headphones have a clear, spacious and rich sound that we found "instantly likeable" when we tested them, and similarly priced wireless earbuds don't get close to the "level of openness, clarity and insight" that these wired models offer. They sound well-organised at either end of the frequency, with a good deal of authority, too.

They are well built, come with six ear tip choices in total (it's worth trying the different sizes and material types to ensure you get that rich, weighty sound we describe) and it ends in a 3.5mm connector that can be plugged into your laptop, MP3 player or smartphone (Sony still provides a 3.5mm headphone jack).

The HD 505 are a different proposition altogether, with an open-back design that means they're best suited to listening at home, as they will leak sound. The upside of this design is a wonderfully airy and spacious soundstage compared with closed-back alternatives.

They have a particular talent with voices, which are delivered with subtlety and refinement, while the smooth yet breathable top end makes sure everything from your Spotify/Tidal playlists to Netflix TV show binges remains easy to listen to.

These are comfortable, lightweight over-ear headphones to wear for hours on end, with plush velour ear cushions (which are replaceable) and an adjustable headband that keeps things secure but not too tight.

The HD 505 come with a long cable ending in a 3.5mm plug and a 6.3mm adaptor, which means they can be plugged into your laptop, DAC, or even a variety of hi-fi systems.

We did point the same criticism at both Sennheiser models: that they could do with more attack and bite overall, with greater punch to the bottom end and more revealing detail – qualities their rivals are able to display – hence the four-star rating for both. However, don't let that deter you: their smooth, clear and refined balance is exactly what we loved about them, and we think many will favour their particular sonic balance, too.

So pick your poison: a clear, rich-sounding wired in-ear experience with the Sennheiser IE 200, or a comfortable, refined and spacious at-home listen with the open-back HD 505 headphones. Both Sennheiser models are good value (and even more so if you take advantage of today's Amazon Prime Day deals), but whichever model you choose, you'll be on the first step of your audiophile journey.

MORE:

Quick! Grab these last-minute Prime Day vinyl and CD deals before they're gone!

I've scoured the Amazon Prime Day sale – here are 9 genuine hi-fi and home cinema deals I'd recommend

Now Playing: the 6 best test tracks giving our team chills this October

Do you have a Sonos soundbar? Or are you looking to buy one this Prime Day?

While they are all good stand-alone options, it’s possible you will want to add a touch more low end to your music and film soundtracks – and that’s where the Sonos Sub Mini comes in.

This capable, snappy subwoofer is currently on offer for £327 at Amazon, and has been highlighted on the site as a best seller.

Clearly, the public knows a good deal when they see one, as we gave the Sonos Sub Mini a positive four-star review at its £429 launch price, and praised its discreet build and lack of distracting vibrations. If you’re after a soundbar as well, we found it pairs best with the Sonos Beam Ultra and Sonos Beam (Gen 2) – the latter of which is also on sale, for £338 at Amazon.

The Sonos Sub Mini’s performance will depend on your soundbar of choice, but we found several promising, consistent characteristics throughout.

“The Sub Mini has a quick, responsive sound that sets it apart from the loose, bland vagueness of many other soundbar subs,” our Sonos Sub Mini review reads. “And indeed, throughout our testing, the Sub Mini always maintains prudent control, and we don’t hear any unwanted rattles or buzzes.”

The Sub Mini kicks out an impressive amount of volume for its size, and reveals low-frequency elements underpinning scores that most soundbars alone can’t touch with a barge pole.

However, we recommend pairing the Sub Mini only with the mid-range options from Sonos, namely the Beam Ultra and Beam (Gen 2). It’s overkill with the entry-level Sonos Ray, and Sonos Arc Ultra owners would benefit far more from the fully fledged Sonos Sub.

For those with the right soundbar, though, the Sub Mini has plenty to offer. While there is an ethernet port, most will connect the Sub Mini over wi-fi, meaning it requires only a single cable for power.

Adding the Sub Mini to your system is simple thanks to the Sonos app, which also includes options for bass level, EQ and phase.

At just 31 x 23 x 23cm (hwd), the Sub Mini is ideal for small and medium-sized rooms, while the matte monochrome cabinet offers an appealing, understated aesthetic and is entirely sealed to reduce distortion.

If you have one of the Sonos Beam models and want to add a powerful punch, the Sub Mini is one of your top options at this price of £327 at Amazon. And it seems the public has caught on, making this the top subwoofer deal of this Prime Day.

MORE:

Also consider our Samsung HW-Q800A review

Read our LG Eclair QP5 review

These are the best soundbars: excellent TV speakers at budget to premium prices

While jaw-dropping hi-fi deals are thin on the ground this October Prime Day, we do have the usual assortment of wireless headphones savings to wade through.

One such deal you might stumble upon is for the Sonos Ace. You can currently buy the black version for just £206 on Amazon, which is their lowest price ever.

Now, given they originally cost £449 when they launched back in 2024, it's quite frankly a ridiculous discount.

But as big as the discount is (it’s actually their lowest price to date) and as satisfying as it feels saving a huge wad of cash on the original asking price, I would recommend putting your money elsewhere this Prime Day.

I would actually recommend buying a brand new pair of wireless headphones instead. Now, it might sound counterintuitive to buy something full price in the midst of a sale, but I genuinely believe the pair that I’m about to recommend will suit most people most of the time.

If you’re a big Sonos user, I can see why you might be tempted by the Sonos Ace, but in my opinion, if you really want to go down this route, I would wait for a deal on the Sonos Ace Ultra.

They are a much more convincing proposition than the original model. There have been some big improvements in the noise-cancelling and sound quality departments, and while they cost £399, I think they are worth getting instead. Fingers crossed for a deal this upcoming Black Friday.

Instead of the Sonos Ace, I would seriously consider the Sony WH-1000XM4C. These wireless, ANC headphones are fresh from a five-star review, and I think they are one of the standout models of 2026 so far. At £219 on Amazon, I think they deliver a fantastic blend of awesome performance and excellent value even at their full asking price.

The Sonys are comfortable to listen to for long periods, their noise-cancelling is excellent, and the sound quality is as musical and entertaining as it gets at this price. Yes, the Sonos might look and feel more premium, but their ANC isn’t as good, and they are seriously lacking in the sound quality stakes, with only average levels of detail and dynamics.

The Sonys boast 27-hour battery life with ANC on, Bluetooth 6.0 support and also have features like Bluetooth Multipoint, Speak-To-Chat and wearing detection.

In our Sony WH-1000XM4C review, we say “If you don’t want to stretch into that upper tier of wireless headphones where Sennheiser, Bose and even Sony themselves sit, the WH-1000XM4C are going to be more than enough headphone for most people.”

It might seem strange recommending a full-price pair of headphones during Prime Day, but some deals aren’t always the great option they initially appear…

MORE:

The best Amazon Prime Day deals of day 2: savings on headphones, OLED TVs, Dolby Atmos soundbars and more, direct from our experts

Looking to expand your record collection? Here are the best vinyl bargains from Amazon's Big Deal Days

One of the finest Dolby Atmos systems you can buy has a new lowest price – but not at Amazon

Prime Day, or Big Deal Days, or whatever the fudge else Amazon’s calling it this very second (as noted by regular contributor Joe Svetlik earlier this week, it changes a lot), is entering its second and final day.

As we noted yesterday, though, it has been a bit of a damp squib so far, especially if you’re shopping for hi-fi.

Good deals have been isolated and usually limited to one product within a category, rather than the holistic drops we see on swathes of headphones, TVs and the like during Black Friday.

Which is why, with a particularly heavy heart, I am sad to inform any bargain-hunting TV buyer that the best deal we’ve seen on an OLED is gone.

Specifically, the stellar Amazon saving on the five-star, Award-winning 48-inch LG C5 from last year which let you pick it up for a modest £699 (saving £500), is now gone.

Stock has run out on Amazon, and the retailers still selling it are charging £999 or more.

If that hasn’t put you off and you’re still eager to buy a new OLED, but don’t have deep enough pockets to pay the full price, or make the jump up to flagship territory, I’m sad to say this is a double-whammy bad news post.

After trawling Amazon and rival retailers, both specialist and mainstream, I haven’t found any deals on good OLED TVs that we’ve fully reviewed and recommend that come close to matching yesterday’s C5 deal.

There are only two close – but not as good – deals currently running. The 48-inch LG C6, which we just finished reviewing and can confirm is a palpable improvement on the C5, currently retails for £1087 on Amazon (save £110). A good TV at an okay price, but far from what we'd describe as cheap.

Alternatively, if you really want to get the cheapest OLED possible that’s not completely terrible, the four-star, entry-level 48-inch Samsung S85H currently costs £824.10 at Richer Sounds – though you’ll need to claim £75 back from Samsung after purchase to unlock the full discount.

But that means you’re paying more for an OLED that doesn’t quite match the performance of the older C5 when it comes to pure picture quality – we know that, as we tested them both.

So what’s my advice to buyers looking for a new OLED? Sadly, unless you need a new TV this very second, I’d strongly suggest waiting a little longer.

Stock of the C5 may come back, and I’m expecting prices of all the OLEDs mentioned in this feature to drop even further in price, especially during Black Friday.

If past events are anything to go by, come November I can even see the C6 – which, having seen it in our review rooms, is the first OLED in nearly half a decade to tempt me to upgrade my ageing LG C2 – dropping below £899, which would make it an incredible option for serious movie fans on a budget.

If that hasn’t answered any of your OLED TV questions, feel free to drop a comment on this page, and I’ll endeavour to respond as soon as possible!

MORE:

These are the best OLED TVs we’ve reviewed

Our picks of the best 50-inch TVs

We rank the best soundbars

Eversolo's AMP-F8 is a serious piece of kit for serious listeners. Because it's a power amplifier, you'll need a separate preamp as well, so it's very much for those taking the separates approach to hi-fi.

But as anyone who's ever done so will confirm, it's worth the effort.

The AMP-F8 was unveiled at High End Vienna in June, but it's just been announced that it goes on sale in the UK next week. So why is it worth considering?

Well, there's the power, for one thing. With generous power reserves, it can drive large speakers – in bridged mode, it delivers up to 500W into 8Ω, in stereo mode, 180W per channel into 8Ω and 280W per channel into 4Ω.

This delivers "a greater sense of scale, while helping bass remain firm, elastic and controlled," Eversolo says.

Its performance is kept stable by a custom 800W high-power toroidal linear power supply that reduces interaction between channels for more stable imaging and more control during dynamic output. And there are 24 custom audio-grade filter capacitors to reduce power-supply ripple and support stronger transient current response, enabling quick energy release as required to give dynamic sections of music more composure.

Mechanical vibrations and interference are suppressed by the integrated DC blocking circuit, giving the amplification circuit a cleaner, more stable power supply.

All this helps keep total harmonic distortion as low as 0.003 per cent, resulting in less unwanted colouration and a sound reproduction that's closer to the original recording.

The signal-to-noise ration of 115dB promises a "cleaner and quieter sonic background" to reveal the subtle details of a track more clearly. In low-level audio signals, noise and external interference is minimised thanks to the AMP-F8's dual differential amplification architecture with symmetrical circuitry and precision negative feedback design. It promises to remain natural and transparent-sounding both with big dynamic shifts and subtle details.

The damping factor over 400 should reduce unwanted movement caused by driver inertia, keep the bass firm and clear with deeper extension and a faster transient response. And the Class AB amplification architecture employs three pairs of precision-matched high-current MOSFET power devices for each channel to distribute power more evenly and reduce distortion.

It also looks the part, thanks to its dual analogue VU meters whose needles move in real time to reflect changes in level and dynamics.

The chassis is precision CNC machined with an anodised sandblasted finish, and promises to suppress physical resonance while improving thermal efficiency and electromagnetic shielding. Combined with its natural convection cooling system and optimised internal layout, it should remain stable even during long listening sessions and under heavy sonic loads.

It also has XLR balanced and RCA unbalanced inputs, making it compatible with preamplifiers, DACs and high-end music sources.

It's out next week in the UK, and costs £1749 (around $2300 / AU$3300) through Decent Audio.

MORE:

The best stereo amplifiers it's possible to buy

Integrated vs pre/power amplification: the pros, cons and which is best for you

How to build the perfect hi-fi system – your complete guide

It's no secret that I love the Sony Bravia 8 II OLED, which romped to victory in the What Hi-Fi? Awards last year and now takes pride of place in my own living room.

Despite some extremely frustrating bugs that were introduced with a recent software update, I still love the TV. And, in fact, it's still better than almost every TV that's launched since.

There is one that has defeated it, though.

No, it's not the Bravia 9 II or LG G6 – it's the Samsung S99H, and it's just hit its lowest-ever price to coincide with Amazon Prime Big Deal Days.

This deal isn't an Amazon deal, though. Instead, you can get the 55-inch Samsung S99H for £1849 at Richer Sounds, and the 65-inch model for £2399 at Richer Sounds.

The retailer says you can also claim additional cashback from Samsung, to the tune of £150 for the 55-inch model and £200 for the 65-inch version. For a TV this new and this awesome, that's exceptional.

I'll level with you, I was surprised that the S99H beat the Bravia 8 II. Sure, the Bravia 8 II is a 2025 TV, but it was so far ahead of its rivals last year, I really didn't think any of them would close the gap.

Samsung has a reputation for slightly overplaying things where brightness and colours are concerned, too, whereas the Bravia 8 II is perhaps the best ever example of Sony's subtle and authentic approach to all elements of picture quality.

It seems pretty clear to me, though, that the South Korean brand set out with the specific aim of overthrowing Sony's flagship OLED.

The S99H pushes QD-OLED panel technology to new heights in terms of brightness and colour reproduction, but this combines with a newfound restraint and subtlety to deliver a much more mature and refined picture than we're used to from Samsung.

This is a TV that can (and will) absolutely dazzle, if that's what you and your content require, but it also satisfies purists by delivering movies, TV shows and games as the creator intended.

Like its Sony rival, the S99H is exceptionally sharp, too, and this combines with its awesome contrast and colours to create an image with oodles of pop and three-dimensional depth.

Gaming specs are also exceptional, with all four of the integrated HDMI sockets supporting 4K/165Hz (and 4K/120Hz) signals, VRR and ALLM.

And if that's not enough HDMI ports for you, or you want to go wireless with your connections, the Wireless One Connect can be added. This features four HDMI sockets that can be used in addition to those already built into the TV.

Before you click the big red 'Add To Basket' button, though, there are three little niggles to the S99H that you need to bear in mind.

The first is, for me, the biggest: it doesn't support Dolby Vision. Yes, HDR10+ is on board, as is HDR10+ Advanced, but these aren't quite the same thing. That said, the TV's Filmmaker Mode is so well tuned, I would personally be prepared to do without Dolby Vision.

The second is the design, which looks great when the TV is wall-mounted, but a little odd when it's plonked on a piece of furniture using the cheap, plastic feet, as it would be in my house. Honestly, there's no real solution to this – it's just something you will have to put up with in the name of excellent picture quality.

The final flaw is the sound, which is pretty good by TV standards, but not good enough to accompany this level of imagery. Frankly, that's an issue for all TVs, though, including the Bravia 8 II, and the solution is the same as ever: make sure to budget for some sort of dedicated sound system, even if it's 'just' an entry-level Dolby Atmos soundbar such as the Sonos Beam Gen 2.

Ultimately, none of these niggles should be a deal-breaker as far as I'm concerned, and if I were to buy any TV in the world right now, it would be the Samsung S99H.

MORE:

Read the full Samsung S99H review

Here are all of the best TVs you can buy right now

And here are all of the best soundbars

Deal events that span a couple of days come in different varieties. The more disappointing sort sees a gradual thinning out of discounted products as people snap up bargains.

During certain events, however, the second day of sales can have just as much, if not more, to say for itself than the first.

And as far as physical media is concerned, that seems to have been the case for this Amazon Big Deal Days event. Overnight, a few great bargains on vinyl and CDs have popped up, so we thought it only right to draw attention to these last minute deals before they're gone.

Collecting physical media can be a costly business, but we think the extra expense is worth it – even more so at a discount. Not only does such a collection put your music in your own hands, it also remunerates artists more fairly, thereby keeping the music industry alive and well.

And after all, without music, what use would hi-fi be?

So, get stuck into these last minute deals before they're gone:

This bumper pack of physical media bargains could quite reasonably lay the foundations for an emerging collection, or top up an existing catalogue with some classic albums.

With 25 per cent off Nirvana's hit record, Nevermind, which catapulted grunge into the mainstream, we've kicked off this collection with head-banging angst.

But it can't all be slamming bedroom doors and charity shopping for the biggest pair of jeans you can find. So, for some balance, we've included some slightly older rock favourites, including a compilation album from Creedence Clearwater Revival, Crosby, Stills, Nash & Young's Deja Vu, and Fleetwood Mac's self-titled album, Fleetwood Mac.

If some synth-led new wave is more your thing, you'll be pleased to see a healthy 18 per cent off the 2023 vinyl reissue of New Order's Substance.

And there are a few more golden oldies there, too, with discounted CDs including Talking Heads' Speaking In Tongues, Prince's Purple Rain, and Low by David Bowie.

For something more contemporary, which (unbelievably) turned 10 years old this year, Drake's Views is currently reduced by 26 per cent on vinyl. Charli xcx's How I'm Feeling Now is also seeing a whopping discount of 33 per cent, so there really is something for everyone here.

Exciting though these discounts are, don't forget, they end tonight!

MORE

Gen Z is having more of an impact on physical sales than you might think

Our selection of the best CD players tested by our expert reviewers

Plus, check out our pick of the ultimate music tracks to test your hi-fi system

Ask anyone 'Who makes the best wireless earbuds?' and they'll probably mention Sony, Bose and Sennheiser. But it was Technics that won the most recent What Hi-Fi? Award for best premium pair – that honour went to the stunning EAH-AZ100, which have now fallen to their lowest price ever.

Keen to see what all the fuss is about? This is the perfect time – they're now just £180 at Amazon, a discount of £79 on their RRP, and a tenner cheaper than their previous low price during Prime Day over the summer. Get in.

A pricey option at the time of their release, the Technics nonetheless landed themselves a stint as our best premium pick on our best wireless earbuds page.

With a 10mm “Magnetic Fluid Driver”, these earbuds have a clear, spacious sound that gives each part of a composition ample breathing room.

Reviewing the EAH-AZ100, we were struck immediately by their “clear and open sound“ and “superb amount of detail”. Digging, deeper, we found them to be punchy, present and dynamically impactful – a combination that ultimately earned them a five-star review.

Complementing their sonic merits, the Technics are also small, light, and comfortable to wear over long periods of time. Touch controls for audio modes, playback and volume are fully customisable, so you can use them any way you please.

A strong and stable Bluetooth connection (with support for SBC, AAC, LDAC and the LC3 codec) means you are unlikely to find yourself grieving a wired option, especially given the earbuds’ impressive 10-hour battery life with ANC enabled.

Used alongside the charging case, their battery life rises to 28 hours.

Nobody, it seems, can keep up with the class-leading noise cancellation of Bose QuietComfort Ultra Headphones (2nd Gen), but the Technics make an honourable attempt, with an effect “like heavy snowfall muffling the world”.

They also feature an Adaptive mode, which automatically adjusts noise-cancelling based on your environment. Alternately, of course, you have the option to dial the intensity up or down yourself.

For a cherry on top, these earbuds include three-way Bluetooth Multipoint connectivity, allowing for connection to multiple devices at once, as well as support for Auracast transmission.

Conventionally, the main drawback of a premium product is its price, but given that these headphones are now available for £180 from Amazon, in this instance, you can have your cake and eat it.

MORE:

Read our full Technics EAH-AZ100 review

Visit our best wireless earbuds 2026: seven sensational pairs reviewed and rated by our experts

Stay up to date with Prime Day 2026 LIVE: the best headphone, speaker and vinyl deals picked by our hi-fi experts

Do you know the best thing about sales events such as Black Friday and Amazon Prime Day? Hitherto unseen deals.

We tested the JBL Xtreme 5 around its release date in May of this year, and we've barely seen a drop since that time. Then, Prime Day came along and, as we might have expected, gave us the first significant discount on a speaker we lauded as elevating the established Xtreme range to a whole new level.

Now the Xtreme 5 can be picked up for £279 at Amazon, a £50 discount on a speaker that launched at £330 in the summer. This deal won't last, though, so get a move on if you don't want to miss out.

Best Prime Day JBL Bluetooth speaker deal

It's still only been around for around six months, but Xtreme 5 has already gained a stellar reputation as a robust, rugged speaker with a clear, detailed and musical sound, all housed in a durable package and backed by more features than you can shake a sausage at.

An increase in power from its predecessor – the Xtreme 5 offers a claimed 130W when mains-powered and 90W when running off the built-in battery – is immediately obvious, bringing a greater sense of scale and size compared with the Xtreme 4.

Bass weight is impressive without overpowering the rest of the track, and JBL's speaker is so clear it makes the Xtreme 4 sound slightly hazy and cluttered in comparison.

As we wrote in our review: "Play Run by Stephen Fretwell, and there’s more separation around the individual elements, so you can hear what each one brings to the music.

"You can inspect around the edges of that crisply defined percussion and piano, but the whole presentation remains cohesive, and the track remains confidently knitted together with the lead vocal at the centre. It’s still a hugely musical listen and captures the slow, gentle rhythmic flow and rise and fall of the track."

The Xtreme 5 is a tad chunkier than the fourth-gen model, but it comes with a carry strap that easily attaches to the floating loops. There are also light strips on the front that are perfect for parties, as is the built-in bottle opener.

Features-wise, you get Bluetooth 6 and Auracast, the latter of which allows you to connect multiple compatible speakers together. There's also lossless audio up to 24-bit/48kHz through a wired connection and Playtime Boost, which extends the battery life from 24 hours to 28 hours, albeit with a rather drastic impact on sound quality.

If you want one of the most powerful and best-sounding Bluetooth speakers around, the JBL Xtreme 5 is the speaker for you. It'll handle any outdoor gathering you throw at it, and a £51 saving at Amazon will almost certainly help you beat the impending winter blues.

MORE:

The best Amazon Prime Big Deal Days savings on headphones, OLED TVs, Dolby Atmos soundbars and more, direct from our experts

I've scoured the Amazon Prime Day sale – here are 9 genuine hi-fi and home cinema deals I'd recommend

Discover our guide to the best Bluetooth speakers for every budget

Note: Magico has pointed out that due to inflation, the original A3's price rose to just shy of £22,000 this year – almost £10,000 more than its launch price. The original story follows.

When it launched in 2017, the original A3 was Magico's most affordable speaker ever (though at £12,000 per pair, it wasn't exactly pocket money). Now the A3 has been reborn as the A3 2027, with a new cabinet, new drivers and new crossover.

Oh, and a new price that's over twice as much as the original A3 at launch.

The new model is again a three-way, four-driver floorstander, but it was developed with the same advanced measurement instruments that produced the ultra-high-end M9 (which cost a staggering £840,000 per pair at launch, but are probably closer to £1 million now).

Californian firm Magico claims that no part of the original A3 speaker was kept just because it worked before – rather every element was reconsidered and reevaluated.

The midrange and woofer cones are built around aluminium-honeycomb cores, which have "ideal thickness, light weight, and the ability to be formed into custom shapes", Magico says. Once sandwiched between carbon fibre skins, they produce "groundbreaking performance" with ultra-low distortion.

Each drive unit was designed especially for the A3 2027. The tweeter's pure-beryllium 28mm diameter diaphragm has a new neodymium-based motor to deliver low distortion with greater power handling, while the 5-inch midrange uses a new long-life foam surround to achieve "excellent cone-to-surround integration, fast settling time, and ultra-low distortion figures," according to Magico.

The midrange also has a super-stabilised magnetic field, pure titanium voice coil and pure copper shorting rings courtesy of a new motor system to minimise eddy currents.

The two 7-inch bass units use the same new cone geometry as the midrange, with the same motor system and all its benefits. These units were optimised for minimal distortion using FEA simulation.

So that's the actual sound-producing parts covered. But the rest of the speaker received just as much attention to detail.

The new crossover is implemented as an acoustical-target 24dB Linkwitz-Riley slope, "delivering maximum frequency and phase linearity while keeping intermodulation distortion minimal." Magico's Elliptical Symmetry Crossover techniques control driver resonances, while Mundorf EB GmbH components promise greater power handling, transparency and liquidity.

Bracing and damping were targeted precisely where needed, thanks to the use of a Laser Vibrometer measuring the vibrations in the cabinet panels. A Near-Field Scanner (NFS) robot measured the 3D sphere surrounding the speaker to optimise the A3 2027's acoustic output, while constrained layer damping means less noise radiating from the parts of the cabinet featuring bracing and bolts.

The visual design has been overhauled, too, with radiused vertical edges and no hard corners visible when viewed in profile. There's no visible fastener either, so it looks like one uninterrupted surface only broken by the drivers. The base is precision-machined and mirrors the speakers' radiused geometry, with custom footers that help reduce diffraction.

The cabinet has had a glow up as well, with the panels now bead blasted and anodised, resulting in a satin texture. And it now comes in four finishes – black, silver, red, and blue – to the original A3's two.

All of these improvements come at a price, and that price is £28,998 per pair (around $38,000 / AU$55,000). That's more than twice the launch price of the original A3.

Look out for it in the first part of 2027 from UK distributor Absolute Sounds.

MORE:

Read about the original Magico A3

And the insane M9 flagship

Best floorstanding speakers: budget to premium models tested by our experts

It's here. The official start of autumn, the Black Friday warm-up, and perhaps even a sign to begin Christmas shopping: October Prime Day.

Officially known as Prime Big Deal Days on the site itself, the sale has brought the usual savings on Amazon devices, electronics and more.

However, while there are many a five-star product and Award winner on sale, several of them are not quite at the lowest price we've seen.

• All the latest Amazon Big Deal Days savings!
• Don't forget to check Richer Sounds for deals too!
• Peter Tyson also has some compelling deals running!
• Sevenoaks Sound and Vision's top savings

Have no fear, though, as I've scoured the sale to find the best genuine deals and rock-bottom prices. As What Hi-Fi?'s resident deals writer, I've been tracking these products for some time and I know a good discount when I see one.

There's a mix of everything here, from soundbars to speakers to headphones. What unites them all, however, is that they're all at the lowest price we've seen, and they've all been given at least four stars and a recommendation by our expert review team.

So what are you waiting for? Let's take a look...

Kicking things off, we have a new lowest price on the spectacular Sony Bravia Theatre Trio, but it's not at Amazon. Head to Peter Tyson, where you can pick up one of the finest Dolby Atmos soundbar systems around for a discounted price of £1799, and then get an extra £200 cashback from Sony – full details are here.

We tested the Sony PS-LX3BT in April, when we found it to be one of the best budget Bluetooth turntables you can buy thanks to its excellent sound and seamless usability. It's already seeing a healthy £82 discount this Prime Day, giving us the lowest price we've seen yet.

The five-star Bose SoundLink Max combines a rugged, ergonomic design, a lively, energetic sound and powerful, tight bass. It's now at a new lowest price thanks to the Big Deal Days sale, but we'd also consider the newer JBL Xtreme 5, which is at a similar price.

The open-back Sennheiser HD 505 offer a comfortable, likeable and long-lasting listening experience, excellent for lengthy at-home listening sessions. Easy to recommend, especially with the biggest discount we've seen.

Small size, big performance. The Award-winning Hisense M2 Pro is our top pick for an entry-level projector thanks to its easy set-up, sharp, consistent picture and solid app support. Now at its lowest ever price.

For cinema quality inside a compact case, check out the Nebula X1. The portable projector boasts class-leading audio, a vibrant, three-dimensional picture and a simple setup. Now at a new lowest price.

The Sonos Era 100 SL doesn't have the microphone of the Sonos Era 100, but it does have the same big, open sound and crisp, clear detail that we fell in love with. Add in a ton of streaming features and a lower price than the original model, and you've got yourself quite the bargain.

We only reviewed the 48-inch LG C6 last week, but there's already a tasty bargain. Use the voucher code GDLG10 to save 10% on this bright, colourful and contrast-rich OLED TV.

Amazon's tablet line has long been incredible value, and the Amazon Fire HD 8 is no different. The 32GB version is half price at Currys if you're willing to collect it, or the 64GB model is only £65 at Amazon.

MORE:

The best Amazon Prime Big Deal Days savings on headphones, OLED TVs, Dolby Atmos soundbars and more, direct from our experts

Our pick of the best wireless headphones you can buy

And the best TVs for all budgets

Last month was such a weird one for music, it's been nice to return to a degree of normality for this edition of Now Playing.

The last time we convened to share everything we'd been listening to as roasting August turned swiftly to still-toasty September, Tom Hardy was making hip-hop albums and The Rock was threatening a country music release.

Normality is a relative term. As we're now firmly into October, the Jack-o'-Lanterns are on the front step and the tacky decorations have been recovered from the attic – it's time to embrace Spooky Season as Halloween approaches with a collection of tunes to give you and your system chills in all the right places.

• Check out the full playlist on Tidal

Season Of The Witch by Lana Del Rey

After the infernal heat wave this summer, I can’t tell you how glad I am that we’re now in the cooler, cosier days of autumn.

And there’s no better way to celebrate the start of October – the month of changing colours in nature and all things witchy – than with Season Of The Witch. While the original 1966 song by Donovan is still a corker, it’s the 2019 Lana Del Rey cover that’s been running through my head.

Her cover is sultry and more atmospheric, with her smoky vocals and layered harmonies imbuing the song with a hazy, dreamlike quality that’s full of soft textures. Along with the exquisite vocals, it all leans into the more mystical vibe of the track that’s lovely to get lost in, whether you’re listening on a big stereo separates system or more intimately on a pair of great headphones.

Whether it’s soundtracking a horror film (as it did for Guillermo del Toro’s Scary Stories To Tell In The Dark) or playing in the background as you put up Halloween decorations, it’s a great track to get you into the spirit of spooky season.

Words by Kashfia Kabir

Placeholder by Gilla Band

Some bands sound like bands; other bands simply don’t. Gilla Band have never been a conventional sounding group, but in the case of this Irish noise-rock quartet, their sound is less a reinvention of the wheel than a recording of it slamming into a brick wall.

Placeholder comes from Gilla Band’s daring 2026 album, Pugnello. Right from the off, fuzzy, atonal synths weave with roomy percussion, strident distorted guitars and the associative, exclamatory vocals of Dara Kiely. Throughout the song, sonic perspectives are manipulated to furnish an unruly, raging core.

In one particularly chaotic 10-second stretch, listeners are thrown from labyrinthine delayed synthesizers into a brief, desperately dry reprieve of percussion, before being plunged back into what Gilla Band do best: violently maximal industrial noise. It is perhaps not a song to play on repeat, but who stays on a rollercoaster all day?

Words by Ioan Hazell

Let The Gods Decide (from A Knight Of The Seven Kingdoms) by Dan Romer

Mock me for being a little late to the medieval fantasy feast, but I’ve just finished a very enjoyable time bingeing the first season of A Knight Of The Seven Kingdoms on HBO Max, and by the gods, what a treat it is. Why couldn’t the last two seasons of Game Of Thrones have been as well-written and lovingly crafted as this?

Fans will know that the series reaches its mighty peak in the fifth episode, 'In The Name Of The Mother', in which protagonist-cum-walking barn door Ser Duncan the Tall finds himself fighting for his life in a seven-on-seven tourney after clouting a Targaryen lord round the chops. Spoiler alert: the blond-haired little sod totally deserved it.

Dan Romer’s score runs in the background as a gentle, sweet-natured accompaniment to the series’ more lighthearted tone, but he turns the heat up to Ramin Djawadi levels of grandeur during the most pivotal moment of the episode that precedes In The Name Of The Mother, as (minor spoilers ahead) the honourable Prince Baelor Targaryen pledges at the last minute to fight at Dunc’s side.

You know this guy is just the absolute man when the show’s composer invokes the main Thrones theme song just for you – few characters in the Westeros-iverse have ever deserved it so richly.

What happens next? You’ll have to watch to find out, but if you know… well, you know. Like Ser Duncan, I’m still in recovery.

Words by Harry McKerrell

Dracula by Tame Impala

Look, I swear that I came by Tame Impala's irrepressibly funky earworm completely independently of any youth-oriented social media platform. I don't even have a TikTok account!

I've been enjoying Dracula since it emerged from its crypt last year, especially whenever I need something light and breezy to take the edge off endless playlists filled with ear-bleeding guitars, but it felt right to wait until October before including it on any Now Playing rundown.

Plus, I'm told it's enjoying a major resurgence on Instagram and TikTok as spooky season approaches, and who am I to fly in the face of the cultural zeitgeist?

Putting everything else aside, Dracula is a devilish delight. It's about as tongue-in-cheek as Tame Impala ever gets, with the titular character used as a metaphor for the feeling of wanting to stay out all night, hence the catchy refrain of "daylight makes me feel like Dracula". Clever.

Words by Harry McKerrell

Spooky by Dusty Springfield

It might have been originally recorded as an instrumental by saxophonist Mike Sharpe, but Springfield’s version soon became the definitive one. And justifiably so – that bass is so warm and welcoming I could listen to it on loop all day, and it’s so laid back it’s practically horizontal.

But it’s Springfield’s breathy vocal that really rescues the track from its lift music origins. Detached yet sultry, she’s the epitome of swinging sixties cool as she details her on-off relationship with “a spooky little boy like you".

Even the saxophone section is superior to the original’s – it’s pared back, with little flourishes here and there without trying too hard, compared to the original’s rather twee stylings.

Is it a Halloween song? Well there’s the title, of course. And Springfield’s hushed performance lends itself to crispy leaves on the ground, dimmed lighting and pumpkin spice. But I would shelve that along with the “Is Die Hard a Christmas movie?” argument (even though yes, of course it is – it’s set on Christmas Eve), in that it doesn’t really matter. It’s a great song – just put it on your system and enjoy.

Words by Joe Svetlik

We Fall In Love by Lamb

I was working my way through a Massive Attack-adjacent trip-hop playlist on Tidal when I stumbled across this testing doozy courtesy of established Manchester duo Lamb.

I'll admit now that I didn't know much about the pair before hearing We Fall In Love, but it didn't take long before I had the thought that all What Hi-Fi? writers experience with worrying regularity: "Wait a minute, I could use this as a test track."

We Fall In Love has tester written all over it. Trip-hop staples from the likes of Massive Attack and Portishead have always been popular in our listening rooms for their subtly crafted, finely poised sonic curations, and Lamb's addition to the canon is no different.

It's a wide, open soundscape scattered with all manner of shimmering bits of ear candy, from glistening percussion (is that a glockenspiel?) to quirky synths, making it a great candidate for seeing how a pair of stereo speakers handle stereo imaging and compositional competence.

Words by Harry McKerrell

MORE:

Read last month’s edition: 5 songs we've had on repeat in the test rooms as we head into autumn

Yes, there is an ultimate prog rock album for testing hi-fi – at least according to What Hi-Fi? readers

Check out our ultimate test tracks collection

Great cheap wireless earbuds might be ten a penny nowadays, but that wasn't always the case. Just a few years ago, cheap pairs were best avoided by anyone who valued sound quality. That all changed with the launch of the Earfun Air.

They were the first budget earbuds to earn five stars from us, and that's despite competition from some very big brands. They genuinely kickstarted the budget 'buds revolution, and now here they are six years later, dropping to a new low price.

They're now just £21 at Amazon, to be exact – down from their launch price of £55. A great price for a pair of genuinely groundbreaking earbuds.

We originally reviewed the EarFun Air back in 2020, but that doesn't mean they don't continue to earn a solid recommendation from us as some of the best budget wireless earbuds you can buy.

Nowadays, you'll see the likes of Sony dominating the affordable wireless earbuds market, with the WF-C510 and WF-C710N, but EarFun kickstarted the current trend for well-specced wireless headphones that cost very little.

At first glance, the EarFun Air true wireless earbuds may seem too good to be true. But that's not the case. An extensive feature list includes voice assistance, an IPX7 waterproof rating, a wireless charging case and Bluetooth 5.0 support.

Not forgetting the impressively long battery life of 35 hours, seven from the buds and a further 28 from the charging case. And they certainly don't feel cheap either, with a pretty classy build and finish, including four tip sizes to choose from. More than we'd expect for earbuds this cheap.

But, how do they sound? In our full review, our expert testers said: "Fans of a grippy, energetic listen to get you through a workout will find much to enjoy here."

Adding: "While similar budget-friendly headphones can come off somewhat congested, here the design of the driver and earpiece (which doesn’t sit too far into the ear canal) allows for a pleasant and spacious presentation."

They're not noise-cancelling earbuds, but you'd be seriously hard pushed to find that at this price. Fortunately, given their age, you'll often find a discount on the EarFun Air. But, this is the best price we've ever seen, so grab them while you can for just £21 at Amazon.

MORE:

Read the full Earfun Air review

Check out the best cheap wireless headphones, tested by our experts

And the best wireless earbuds: top pairs tested by our reviewers

Wharfedale’s Diamond 12 range of speakers has been a long-standing hit in our hi-fi and home cinema testing rooms. The stereo speakers have been showered with five-star reviews and have been bestowed countless Awards since they launched back in 2020.

Six years on, Wharfedale has revised the range with the new Diamond 12i series. While the 12.3i floorstanders have set the bar high with a five-star review, we’ve been anxiously awaiting the arrival of the new range in our AV testing space.

Thankfully, the wait is over, as we now have the Wharfedale Diamond 12.1i HCP system hooked up to our reference AV amplifier, primed for testing.

This package combines two pairs of Diamond 12.1i standmount speakers with the 12.1Ci centre channel, and the same SW10 subwoofer found on the existing Diamond 12 home cinema packages.

Wharfedale has highlighted some minor tweaks to the tuning of the speakers and a few new finishes, so it’s not a radical departure from the existing Award-winning systems, but that might not be a bad thing.

Price

At £999 in the UK, the Diamond 12.1i HCP is conveniently sold as a complete package at various hi-fi and AV retailers. Buying this set as a full package also nets you a decent discount, as the total cost of these speakers bought separately is £1126.

The package doesn’t appear to be sold as a pre-assembled bundle in Australia, but buying the separate components comes to a total of AU$3300. Breaking that down, that’s AU$700 per pair of Diamond 12.1i (you’ll need two pairs), AU$700 for the 12.1Ci, and AU$1200 for the SW 10 subwoofer.

Unfortunately, it’s currently bad news for our American friends, as the centre channel doesn’t currently seem to be available across the pond. While the 12.1i speakers and SW 10 subwoofer are on the market, the crucial 12.1Ci is the missing piece to this 5.1 puzzle.

Impressively, Wharfedale has managed to dodge a price rise here in the UK, as the 12.1i HCP has launched at the same price as its 12.1 HCP predecessor. That said, the previous system launched at AU$2423, so that’s a substantial price increase Down Under.

It’s important to note that you’ll need to factor in the price of stands for this package, as the front and surround speakers are standmounts. For those who prefer floorstanders, you can swap the fronts for the 12.3i speakers, but we have a separate review of that system coming soon.

Build

The 12.1i HCP looks practically identical to the outgoing 12.1 HCP, with the main components – SW 10 notwithstanding, as it is literally the same subwoofer – all bearing strong resemblances to their 2020 counterparts.

In fact, this system has the same dimensions as its predecessor. The 12.1i measures 31 x 18 x 28cm (hwd), the 12.1Ci measures 18 x 48 x 28cm (hwd), and the SW 10 is 42 x 34 x 38cm (hwd).

The biggest difference is that Wharfedale has swapped the two-tone design, which paired a glossy baffle with a wood-grain vinyl finish on the sides, for a smoother finish on two of the available colours; those being All-black and Stone Grey. For fans of the original look, the Walnut finish pairs a wooden surround with a contrasting matte black baffle.

Our review unit sports the Stone Grey finish, which has divided opinion among the team. While some praise the minimalist, clean look that helps it blend into more living rooms, others feel the flat grey looks a bit unfinished and plain. Looks are, at the end of the day, subjective, and we appreciate that there are multiple colours to choose from.

The 12.1i front and surround speakers feature a two-way bass reflex design, whereas the centre channel sports a two-way closed box enclosure. The cabinets are constructed from wood fibre board of varying thickness, and they are assembled in a way that minimises sound interference from the cabinet itself in the pursuit of greater sonic purity.

These components also feature Wharfedale’s Intelligent Spot Bracing. This sees a wooden brace connect opposing walls in such a way that minimises resonance.

Features

Wharfedale has paid special attention to how these revised speakers present low frequencies.

This comes in the form of a new bass port, which has been redesigned with upgraded internal damping and tuned to support “improved bass clarity and control”. In theory, the 12.1i and 12.1Ci should deliver more consistent, spacious bass with smoother transitions between midrange and low-end frequencies regardless of placement.

The drive units across the system are essentially unchanged from the previous generation, although Wharfedale highlights tighter production tolerances which should result in more consistent performance.

The 12.1i retain the 13cm mid/bass driver, which is constructed from Wharfedale’s Klarity material. This is a blend of polypropylene and mica, which the company says “provides excellent stiffness and low distortion”. Each mid/bass driver also features a precise magnet system with an aluminium compensation ring, which should facilitate a cleaner sound with less distortion.

High frequencies are handled by a 25mm woven polyester dome with a high-loss damping coating, which is paired with a subtle waveguide for enhanced dispersion. Wharfedale claims that this tweeter arrangement can produce “clear, natural high frequencies with excellent off-axis performance”.

Wharfedale keeps things simple with the 12.1Ci, as it retains the same drivers as the 12.1i, albeit in a slightly different configuration. It sandwiches the same tweeter between two 13cm mid/bass drivers; using the same drivers across the package should, in theory, result in greater sonic cohesion between the components.

The subwoofer rounds out the system and, as we’ve already established, it’s the same sub that accompanied the previous edition of this speaker package. The SW 10 features a 25cm front-firing long-throw driver and a claimed peak power output of 350W. You’ll find Stereo Line In (2 x RCA Phono) and Mono (LFE) Line In (RCA Phono) inputs on the rear.

Interestingly, the biggest difference in this iteration is that the speakers are now single-wired. The previous generation 12.1 speakers sported two sets of terminals for bi-wiring.

Sound

Wharfedale’s highly-commended 12.1 HCP system won five consecutive What Hi-Fi? Awards thanks to its stellar blend of value and sound performance; the latter being the most important. We’re therefore pleased to confirm that the 12.1i HCP excels in this area too.

We’ve hooked the system up to our reference Denon AVC-A1H home cinema amplifier – overkill for this package, we know, but for testing purposes this AV amp will allow us to directly pinpoint the strengths of this system – and attached our Oppo UDP-203 4K Blu-ray player.

Starting with Sinners, we’re immediately drawn into the conversation between Stack and Mary thanks to the 12.1Ci’s excellent handling of dialogue. There’s plenty of low-level dynamic variation and detail to be found here, which ensures the tense exchange carries plenty of emotional charge.

The ensuing medley that swoops and swirls throughout the bar sounds impressively musical and dynamic, aided by superb cohesion between all elements of the system. There are no noticeable gaps between the channels, which sells the effect of the music flowing around the room convincingly.

At first, we feel as though the front left and right speakers sound slightly lean, but moving them closer to the wall restores a touch of richness and warmth that mitigates this apparent leanness.

Moving on to Blade Runner 2049, we use the infamously tricky chapter two sequence to test bass. Aside from the same slight fuzz on two specific sound effects that has tripped up the majority of subwoofers we’ve tested of late, the SW 10 provides impressively deep and even bass.

This low-end builds consistently throughout the sequence too, underpinned by a sense of tonal variation that helps to enhance the drama and tension of the scene.

Following on from this, we’re impressed by how this package can capture the atmospheric effects of the dystopian Los Angeles streets as Officer K returns to his apartment block.

Despite this being a strictly 5.1 package – Wharfedale does sell the 12.3Di height speakers if you wish to expand the system – the 12.1i HCP manages to convey the height and spaciousness of the scene, including the overhead projected advertisements, to an impressive degree. The sound is dispersed without sacrificing accuracy or detail.

Rounding out our testing with Dune: Part One, we find that the worm attack sequence affirms our assessment of the package. Weight, scale, spaciousness and detail are all balanced delicately, with superb dynamics underpinning the whole experience. Voices remain wonderfully natural, and the thumping drums throughout the sequence are punchy and deep.

We struggle to find any real flaws in the sound, especially at this price.

Verdict

The Wharfedale Diamond 12.1i HCP delivers a superbly immersive, detailed and grown-up sound. Its excellent sonic cohesion across the front and surround channels, mixed with an established and talented subwoofer, makes for yet another successful recipe from the brand.

Given Wharfedale's track record this may not come as a surprise, but we can still celebrate how truly fantastic this surround sound package is.

SCORES

• Sound 5
• Features 5
• Build 5

MORE:

Read our review of the Wharfedale Diamond 12.1 HCP

Also consider the Wharfedale Diamond 12.3 HCP

Best surround sound systems: home cinema speakers and soundbars put to the test

The physical media revival has brought with it some strange side effects, from production bottlenecks and extended wait times on new vinyl, to unexpected, novel tech developments, such as Bluetooth-enabled cassette players.

Perhaps the strangest byproduct of all, however, is a new kind of vinyl buyer: one who doesn’t even own a record player.

We recently covered a report that stated 30 per cent of Gen Z vinyl buyers didn’t own a turntable, while a 2023 report from Luminate found that, in the US, only 50 per cent of people who had bought a record (within a 12-month window) actually owned a turntable.

While we think buying vinyl and never listening to it is a forgivable sin, through a sceptical lens, you could put this consumer behaviour down to posturing. Some might even call it a waste of a physical music format that’s becoming ever more challenging to produce and facing emergent challenges, such as the creation of counterfeit records.

Who is buying vinyl?

But Scott Hagen, CEO of Victrola – a turntable manufacturer with over 100 years of experience – is no sceptic. He understands that Gen Z’s interest in vinyl has made the generation one of his company’s key consumer bases.

We haven’t yet fully reviewed any of Victrola’s products, but we couldn’t miss the chance to talk to the CEO of a company whose history goes all the way back to the days of the gramophone. These days, the company’s aesthetic is far from gaudy, making stylish, lifestyle-friendly record players, which incorporate modern features such as Bluetooth, wi-fi and Auracast into their designs.

Hagen explains that one of the first consumers Victrola considers when designing new products “is somebody that purchased vinyl, or someone who is considering buying a record player for the first time, and they think, ‘You know, this looks like a lot of fun’.

“Gen Z, or that age range – call it 18 to around 30 – is the fastest growing segment of vinyl purchasers,” says Hagen.

And indeed, recent research by Key Production – a physical media broker and manufacturing agency – showed that the proportion of people listening to music in physical formats was greatest among those aged 18-24. As an encouraging side note, the survey also found that 18-24-year-olds were the most willing of all age groups to spend more on their wax in the name of eco-friendly production.

“Simple set-up to get a quality solution”

But for Gen Z, who are the first generation fully native to mobile devices, getting into analogue audio comes with a few hurdles.

“There’s a bias that it’s very difficult to get a great sounding, great looking product that’s not hard or scary to set up,” says Hagen. “At Victrola, we love music, we love hi-fi and all the great, beautiful products that are out there. What we don’t love is scaring people with this hi-fi, snobbish ‘analogue has to be perfect’ mindset, because, frankly, that isn’t who the core audience purchasing vinyl today are – so, we want to take the fear away.”

As a solution, Hagen stresses that “simple set-up to get a quality solution” remains a key tenet in Victrola’s new designs.

An apt example is Victrola’s Automatic turntable, which features Bluetooth connectivity, fully automatic operation, and a continuous repeat function that lets you loop one side of a record without the need for manual resets. Such products offer a middle ground for those newly interested in vinyl, allowing them to engage with physical music without the complexity of a fully manual turntable and hi-fi separates.

According to Hagen, consumer expectations around audio quality have been steadily rising. “Frankly, there’s more music being consumed today, in all different ways, than there was 20 or 30 years ago.”

With persistent upgrades to the quality of on-the-go listening formats, such as affordable wireless headphones, portable music players and in-car audio systems, Hagen says that “the expected base-level quality of sound is significantly higher” than it was in vinyl’s heyday in the ‘70s and ‘80s.

In an effort to meet that need, Hagen says that he and the company “take learnings from higher-end products, then figure out how we can implement them in a way that other people haven’t, to provide an even better product”.

As an example of this approach, he points to vibration-elimination technology developed for the company’s new Soundstage soundbase. This is a compact speaker unit that sits beneath a record player to deliver sound – it’s a convenient, space-saving solution for those wanting a compact vinyl set-up, but also a move that has the potential to cause feedback and distortion.

“Previously, we came up against a bunch of barriers. Take the Eastwood (a turntable with built-in speakers), for example. There, we were able to keep an isolated front array of speakers and get a lot more output than we, or our competitors, had… But we hit a barrier at some point, where we could only make it go so loud without vibrating the thing off the table.”

The company went back to the drawing board, and eventually returned with Victrola’s down-firing symmetric drive woofer, which uses a dual-diaphragm design with opposing woofers that share the same voice coil to produce bass while cancelling unwanted low-frequency vibrations.

“Now we’re taking those learnings and, over the course of the next couple of years, bringing them back into our lower-line products,” says Hagen.

“The industry is behind vinyl”

His confidence in the stable growth of vinyl, he says, is based not only on the consumer response to the company’s products, but also the vested interests of musicians and the wider music industry in physical media.

“I would say the industry is behind [vinyl],” he says. “Ultimately, content availability and content support from the studios and production and the artists themselves is what's always driven the demand and the consumption of the content itself. And the studios and the artists are so behind this format.”

According to 2026 statistics from the British Phonographic Industry (BPI), UK vinyl sales jumped by 19.9 per cent, driving a third consecutive year of growth in physical music revenue.

Here at What Hi-Fi?, we are always pleased to see interest in physical media grow, and alongside the vinyl sales, we’ve seen turntables continue to grow from strength to strength across all price ranges, as you can see from our best turntables buying guide. Even as times change, we’ve encountered superb new turntables, from affordable Bluetooth-equipped models such as Sony’s PS-LX3BT and PS-LX5BT turntables, to more upmarket, purist offerings from Rega and Pro-Ject.

Of course, streaming remains the dominant financial source for the music industry as a whole, rising to a record level of £1.07 billion in the UK in 2025, but Hagen believes that vinyl occupies a unique and robust position.

“People aren't going to buy [vinyl] necessarily because they think it has better quality sound, or because they think it's more convenient,” he says. “People aren't going to buy it because they think it's the most affordable, either. People are buying it because it is the second version of them going to a concert, and it is an incredible way for them to celebrate what they love with their friends.”

Looking to the future of turntable manufacturing, Hagen does not believe that innovation will be driven by “the most recent Bluetooth chip, or adding the most up-to-date amplifiers or preamps that are out there.”

Instead, he thinks that keeping a close eye on the ways that home life changes and understanding which types of connectivity and features best “connect with the way people live” will be key to keeping future customers engaged.

“I think it’s really going to be about industrial design,” says Hagen. “[It will be about] having the best industrial designers that are most connected to the end consumer, and working with them to learn as much as possible.”

What do you think? How do you see turntables evolving in the near future? Are there any features you hope to see included in modern turntables? Let us know in the comments.

MORE

Gen Z is having more of an impact on physical sales than you might think

I’ve started collecting vinyl records of this unusual music genre – and it’s been a lot more rewarding

Check out our pick of the best turntables tested by our expert reviewers

Another Amazon Prime Day deals event is underway, and I’ve got to be honest: it’s looking like a bit of a damp squib if you’re hoping for monster new savings on quality hi-fi kit.

That’s hardly a surprise, though, as most specialist retailers tend to bide their time and save their biggest and best savings for Black Friday.

Now I’m not saying that you won’t find the odd bargain out there today or tomorrow during Prime Big Deal Days.

There are some genuine discounts to be had on Amazon – my top three so far are the five-star Sony WH-1000XM5 wireless headphones down to £192 from £279, the excellent 48-inch LG C5 OLED, down to £699 from £999, and the Sony PS-LX3BT Bluetooth turntable down from £299 to £217.

But as a hi-fi fan, I haven’t really seen a huge amount else to be excited by. And, if I was in the market for either starting a hi-fi system from scratch or upgrading one of the links in my chain, I’d be perfectly happy biding my time and waiting to see what happens at the end of November during Black Friday.

What I would recommend doing over the next few days, however, is a spot of research to see what discounts are out there, how prices might have changed in recent months and what the previous lows have been. This will help give you an indication of what you might expect to see during Black Friday.

Take the KEF Q350, an old but still great pair of bookshelf speakers which are currently on Amazon for £330. The shopping giant claims this is their lowest price in the past 30 days.

That same pair of speakers is currently available over at Peter Tyson for £299. Now that’s a solid deal on paper, but I know from covering Black Friday 2025 that the same pair of speakers was available for £269, which is a nice extra chunk of cash off.

Now, unless stock sells out completely between now and the end of November, I think you’ll be able to pick them up for the same low price, and you never know, they might drop even further once the Black Friday sales properly kick into gear.

There are some speakers out there that are still sitting at their lowest price ever, such as the Q Acoustics 5050. We tested them originally at £1299 back in 2024, and they are £999 at Richer Sounds and Peter Tyson.

Now that’s a really good deal, but not new for Prime Day – they've been around this price since Black Friday 2025. So, I’d be tempted to wait and see if more gets shaved off the price this November.

Another reason to hold fire is that in my experience, you’re unlikely to see many big first-time discounts during this particular Prime Day deals event. Many retailers want to start Black Friday with a bang, so they chose this event to give a pair of speakers, or hi-fi separates, their first discount instead.

After all, there’s nothing more satisfying than grabbing a discount on something that you previously thought might be out of reach. And you can guarantee we’ll be the first to tell you all about these savings as soon as we spot them, so stay tuned!

MORE:

Our favourite budget music streamers are on sale during Amazon Prime Day, but don't buy them yet – I would wait for better Black Friday deals

My biggest problem with this Amazon Prime sale has nothing to do with the deals

A record deal! Sony's five-star Bluetooth turntable hits a new low price

The phenomenal bang for your buck offered by TCL’s 2025 C7K left that year’s C8K feeling a little underwhelming in comparison. Especially as, in one or two picture areas, the C7K actually performed slightly better than its costlier sibling, too.

For the 2026 C8L, though, TCL has introduced both its groundbreaking new Super Quantum Dot technology and a significant increase in dimming zones, applied to a new-gen version of the already excellent WHVA LCD panel designs introduced last year.

Price

Given that the C8L is the most premium TCL TV you can buy without trampolining up in price to the ‘technology showcase’ X11L and RM9L models, it generally looks like good value, both in terms of how it lines up against rival premium screens and TCL’s step-down C7L.

Ironically, given that it’s the version we’re looking at here, the one exception to this is the 65-inch set. At £1899 in the UK, it costs a whopping £700 more than the 65-inch C7L at the time of writing, while the price gaps at other sizes are much smaller.

As we’ll see, the 65C8L is still good enough to just about hold its own over the 65C7L, but its unusually large price gap is still something we have to mention.

The 65C8L’s price holds up better against those of rival backlit sets. Sony’s 65-inch Bravia 9 II costs £3499, for instance, while Hisense’s 65-inch UR9 costs £1999 and Samsung’s 65-inch R95H Micro RGB TV costs £3000.

Perhaps a bigger concern is that a 65-inch LG C6 OLED can now be bought for under £2000.

In Australia, the 65-inch C8L will set you back AU$2295, while in the US, where the set is called the QM8L, heavy discounting has already taken the price down to a very appealing $1700.

Design

The C8L isn’t the most instantly glamorous premium TV around. It’s slightly chunky around the back by modern standards, and sits somehow rather heavily on its centrally attached desktop bass. The depth is excused, though, by the fact that it provides room for both a premium direct LED lighting engine and up-firing speakers built into the screen’s top edge.

The stand, meanwhile, benefits from an appealing metallic finish and a neck attachment that lets you hide cabling behind a clip-off/on cover.

The set’s rear tapers back steeply from the screen’s outer edges, too, helping to hide its depth from normal viewing angles, while the frame around the screen is both remarkably slim and features a crisp metallic finish.

All in all, once the TV is in place, its design lets you focus on the pictures it’s producing rather than the technology producing them. Which always counts as a win with us.

The C8L ships with two remote controls. Most people will settle into using the smart metallic silver one with its stripped-back button count and built-in voice mic, but the long, thin full-number button alternative is also easy on the eye and comfortable to hold if, for some reason, you prefer all those extra buttons.

Features

The 65-inch C8L has some impressive numbers to share, starting with a huge claimed peak brightness of 5000 nits, a high local dimming zone count of 2040, and support for almost 100 per cent of the AV world’s most extreme BT.2020 colour spectrum. This is enough in itself to establish the C8L as a cut above the LCD TV norm, but it’s really just the start of this TV’s initial charms.

It also uses, for instance, TCL’s new Super Quantum Dots. These represent a major update on traditional Quantum Dots, with five different layers being squeezed into their tiny form rather than the previous two. This is claimed to result in increased efficiency, stability, brightness, colour range and colour accuracy.

These new SQDs have been integrated into the second-generation version of TCL’s new WHVA LCD panel, which introduces a whole host of advantages, including more efficient and accurate Mini LED lighting for enhanced contrast and brightness, reduced blooming from the local dimming system, extra image clarity courtesy of a reduced ‘throw distance’ from the backlighting to the screen and a faster transient response from the LEDs, plus enhanced shadow-detail handling to stop dark scenes looking hollow or flat.

As the name suggests, WHVA screens are based on VA technology, which is known for giving better contrast than the rival IPS panel technology. The W bit, though, also indicates that this premium take on VA tech from TCL is designed to support wider viewing angles than VA panels customarily do.

TCL has also introduced a mild anti-reflection filter to the C8L, though we might as well say right away that this doesn’t operate on nearly the same reflection-removing level as those on the latest top-end TVs from Samsung and Sony.

The C8L’s hardware attractions are controlled by a new version of TCL’s TSR AiPQ processor specifically optimised for the new SQD WHVA panel.

Gamers, meanwhile, can look forward to input lag of just 10.1ms, 4K/144Hz support, VRR (including in the AMD FreeSync Premium Pro format), support for refresh rates at HD resolution right up to 288Hz via HDMI’s Direct Line Gate system, and ALLM switching when a game source is detected.

All four of the C8L’s HDMI ports can handle 4K/120Hz signals, while other connections comprise a single USB 3.0 port, an optical digital audio output, an Ethernet port and RF inputs for both satellite and (Freeview HD) aerial connections.

Wireless connectivity is also available, of course, in wi-fi, Bluetooth and AirPlay 2 flavours, while the TV’s use of Google TV for its smart operating system adds built-in Chromecast.

On the subject of Google TV, TCL has ensured that, as well as all the key global video streaming services the platform usually supports, the C8L’s interface also carries the key UK terrestrial broadcaster catch-up apps that Google TV doesn’t typically offer.

The C8L supports all four of the main high dynamic range formats, too: HDR10, HLG, HDR10+ and Dolby Vision. So it will play the best version available of any HDR content you feed it.

Last but not least on the C8L’s lengthy list of attractions is its audio system. Designed with Bang & Olufsen, no less, it features 2.1.2 channels, including two up-firing speakers (to aid Dolby Atmos delivery) and dedicated bass drivers. There’s no direct forward-facing ‘soundbar’ along the bottom edge as you get with TCL’s flagship X11L series, though.

Picture quality

Adding more dimming zones and, especially, Super Quantum Dots to the C8L has had a transformative effect on its picture performance compared with its 2025 predecessor.

As we did with last year’s TCL C7K and C8K series, we look at the C8L alongside its step-down sibling – but this time there is no repeat of the peculiar colour inconsistency issue with the C8K, which could sometimes cause some of its colours to actually look less vibrant and natural than those of the cheaper model. On the contrary, the C8L’s colours are even punchier in the TV’s excellent Standard preset than those of the C7L – despite the C7L itself being streets ahead of most of its similarly priced rivals in the colour department.

This doesn’t mean that the C8L’s colours look overblown or inconsistent, though. TCL has seemingly taken great care to ensure that any amplification of colours its TV is delivering in its relatively vibrant presets maintains the tonal balance and overall ‘feel’ of the source content remarkably well.

The C8L’s SQD and processing capabilities ensure, too, that colours retain full saturation even in the brightest HDR picture areas, rather than brighter colours fading away as can happen with lesser TVs. Nor do the brightest, most heavily saturated HDR colour areas become cartoonish thanks to any loss of subtle shading details.

This colour blend finesse feeds into an impressively three-dimensional look to pictures, regardless of whether you’re using the TV’s Standard or as-the-director-intended Filmmaker Mode preset, as well as an outstandingly crisp, detailed look to native 4K images where you feel like you’re appreciating the full and accurate weight of every single pixel.

This sense of depth and detail isn’t just down to the C8L’s new colour engine, though. Its Mini LED plus advanced local dimming backlight system also plays a huge part in the feeling of precision and, in the Filmmaker Mode’s case, accuracy, by being able to deliver not just extreme brightness highlights and remarkably inky black colours, but every imaginable shade in between. That includes the faintest dark colour and grey details; nothing gets lost in the darkness here.

Subtle shadow details are delivered without looking noisy or exaggerated, too, revealing a level of local light control and backlight intelligence that’s still very rare in the LCD TV world.

Given how well the C8L handles the subtlest of dark scene details, it comes as little surprise to find that it also exhibits scarcely any backlight blooming at all around even the most starkly stand-out bright highlights. That’s despite those bright highlights not obviously being dimmed down when they appear against even black backdrops, and the screen’s general brightness being consistently spectacular for a fairly mainstream TV.

The C8L’s intense brightness can be felt in highlights of both Standard and Filmmaker Mode images, and it makes all bright or mid-bright scenes look breathtakingly intense and vivid in Standard mode without the results looking forced.

That isn’t to imply, though, that the Filmmaker Mode looks in any way drab. It is, of course, less bright than the Standard preset, especially with SDR content, in keeping with the relatively dim brightness values used by most of today’s content mastering studios. But Filmmaker Mode actually looks more dynamic with both SDR and HDR than such modes usually do, purely as a result of the screen’s hardware strengths and software support helping to deliver the picture attributes Filmmaker Modes demand.

With motion processing set to Low, the C8L delivers 24fps content with good sharpness, while keeping it free of excessive hardware judder, soap opera effect or general unwanted processing side effects, and the WHVA panel definitely helps the screen retain richer colours and better contrast from wide viewing angles than your average LCD TV.

The C8L’s picture heroics aren’t limited to video playback, either. It’s also an excitingly crisp, bold and responsive gaming display that you can’t help but become immersed in. Even if you’re playing the scary Silent Hill: Townfall and might want to be a bit less immersed…

The C8L’s pictures in both its Standard and Filmmaker Modes combine punchiness with naturalism, consistency and nuance so well that it’s hard to find anything serious to complain about.

However, while viewing angles are good in most ways, blooming becomes much more obvious from angles of around 30 degrees and more. The screen is also quite reflective of bright light sources in your room, even if it suppresses more general ambient light quite well.

The noise reduction features are all a bit over-aggressive and basically unnecessary (so turn them off), and the Natural Cinema motion processing mode that sounds like it should be the best option for film fans… isn’t.

Finally, we can’t help but think that the rather complicated way TCL has integrated its new ‘Eco’ power-saving features into the TV’s menus in its out-of-the-box mode might result in more than a few C8L buyers leaving their new television hobbled with greatly reduced brightness and colour. Hopefully anyone who’s read this review, at least, will take the necessary steps to make sure this unfortunate situation doesn’t happen to them.

Sound quality

The C8L continues to benefit (mostly) from TCL’s working relationship with Bang & Olufsen when it comes to its premium TVs’ sound systems.

The 2.1.2-channel sound system does a particularly good job of crafting a soundstage that extends further beyond the screen’s outer frame than most TVs manage, creating an open, immersive sense of space for movies into which the TV then places specific effects with good positional accuracy.

These effects are very clean and crisp, too, even at loud volumes, which gives the overall tone of the sound an almost hi-fi quality. That’s testament, no doubt, to the physical quality of the B&O speaker design.

There’s plenty of clean and expansive power to go with the detail and large soundstage, too, and bass is handled tastefully, for want of a better word, staying clean, even when Hollywood really hammers the low-frequency knob.

As with last year’s C8K, though, the soundstage presentation can sometimes lose a little coherency as the wrong elements in a mix get too much emphasis, and the sound generally feels like it’s happening more behind the screen than in the room with you, costing it some immediacy and directness.

Dense soundtrack moments ebb in and out at times too, and, finally, while bass is clean, it doesn’t hit quite the sort of depth we feel that it perhaps should be able to with such large low-frequency drivers available to it.

Overall, the C8L’s sound is good by prevailing TV standards, and improves on its predecessor, but it somehow still doesn’t feel like it’s getting the optimal impact from all of its undoubtedly premium audio parts.

Verdict

While the 65-inch model doesn’t represent quite such excellent value as other screen sizes in the C8L range, the addition of Super Quantum Dots and a clearly much improved backlight system still delivers a hard-to-resist upgrade from last year’s mildly disappointing C8K.

SCORES

• Picture 5
• Sound 4
• Features 4

MORE:

Read our review of the Hisense UR9

Also consider the Samsung R95H

Read our Sony Bravia 7 II review

Best TVs: flagship OLEDs and budget Mini LED sets tried and tested

Every time a big sales event comes around – whether that's Black Friday or Amazon's many Prime Days throughout the year – I'm always on the lookout for any deals on WiiM's budget music streamers.

Why? Because the WiiM Pro Plus (tested at £219, but the price has gone up to £249 now) and the step-up WiiM Ultra (tested at £349, up to £369 now) are super easy and cost-effective ways to add a host of streaming features to your music system. They sound detailed, balanced and expressive for the money, support the most popular streaming services, and have one of the best app control experiences around.

During the two-day Prime Big Deal Days event that's happening now, I've spotted that the WiiM Pro Plus is on sale for £209 at Amazon and other hi-fi retailers, while the WiiM Ultra is available for £309 at Richer Sounds and Sevenoaks. That's a £40 and £60 saving respectively on their current RRPs.

But wait – are these the best savings you can get for either product? The simple answer is no. While we love any discount on great five-star products, I've seen both these WiiM streamers available for a lot less at previous Amazon Prime Day and Black Friday sales. I've seen the WiiM Pro Plus available for as little as £175 earlier this year in June, while the WiiM Ultra has been reduced to £279 previously, too.

So today's discounts aren't the lowest prices we've seen these products at. If you're keen on either of these WiiM streamers but want the biggest savings, I would suggest waiting a month until Black Friday looms into view at the end of November to take the plunge – as that's usually when we see the lowest prices on hi-fi products in general.

Both WiiM streamers are compact enough to fit into limited spaces, but the WiiM Pro Plus – a multiple What Hi-Fi? Award winner – is a small, nondescript black box that can be placed on a shelf, inside a TV cabinet or even on a desk. Its talents are considerable for its budget price: it packs in wi-fi streaming, AirPlay 2, Google Chromecast and Bluetooth, support for all the latest streaming services including Tidal/Qobuz/Spotify Connect, and can handle hi-res files up to 24-bit/192kHz.

For its price, it serves up a detailed, expressive and organised sound that is easy to listen to, and is a great way to add streaming powers to an old hi-fi system, or form the basis of your first budget hi-fi system.

The bigger WiiM Ultra drops AirPlay support but gains a nifty touchscreen display, which makes accessing your favourite playlists and albums quicker. It sports a more advanced DAC, and delivers a more spacious and dynamic sound than the Pro Plus. It also adds a built-in MM phono stage so you can plug in a turntable, and an HDMI input for using it with your TV. That's a huge amount of connectivity and versatility from such a product, and we find it works a treat with budget speakers and amplifiers.

Apart from their performance-per-pound value, the main reason we always keep recommending these two WiiM streamers is because of how user-friendly WiiM Home app is for controlling your music. Set-up is easy, the app is neatly laid out, and it's a responsive, seamless system to use daily.

The current deal prices on the two WiiM streamers are tempting – any money off hi-fi products is always worth a look! – but I would exercise some patience and wait until Black Friday rolls around in a month's time, so you can be sure that you'll be getting the genuine lowest prices on these five-star products.

MORE:

WiiM Ultra vs WiiM Pro Plus: which five-star music streamer is the best option for you?

A record deal! Sony's five-star Bluetooth turntable hits a new low price

The best Amazon Prime Big Deal Days savings on headphones, OLED TVs, Dolby Atmos soundbars and more, direct from our experts

Happy Prime Big Deal Days!

Yes, it's time for Amazon's third big sales event of the year, following Spring Deal Days in March and Prime Day in June.

The big difference with this Amazon sale? Black Friday is just under eight weeks away.

This presents a conundrum for anyone looking to buy a new TV. If you somehow held out during the World Cup but are craving a bigger, better screen in your living room, then we are arriving in peak sale season.

But should you actually wait another two months and put up with your ageing TV? Here's our two cents...

• All the latest Amazon Big Deal Days savings!
• Don't forget to check Richer Sounds for deals too!
• Peter Tyson also has some compelling deals running!
• Sevenoaks Sound and Vision's top savings

Should I wait until Black Friday to buy a new TV?

Largely, yes. While many retailers launch rival Prime Day sales now, it's not to the same extent as Black Friday, when every outlet, including the specialist TV retailers, pull out all the stops to compete for the best price.

Black Friday is also traditionally when the year's new releases get a big price drop, meaning if you wait a few months your budget could stretch to a 2026 model rather than one of last year's releases.

One TV brand that can be worth buying over Prime Day is, of course, Amazon. And while there are good deals on Amazon TVs we recommend – such as the Amazon Ember QLED with Fire TV, now £640 at Amazon – they're not quite the cheapest we've seen them (that particular model dropped to £600 over Prime Day in July).

Our advice? Unless you particularly need a new TV between now and December, you're better off holding fire and resisting temptation for a few more weeks, when the TV deals selection should be wider and better.

Unless you happen to be after a small-ish OLED...

The exception to the rule?

If you can't wait until Black Friday, however, and have a smaller room, thereis a rather excellent TV deal available this Big Deals Day.

The 48-inch LG C5 has crashed to £699 at Amazon, the lowest price we've seen so far and a whopping 50 per cent off the price we reviewed it at last year.

We can't promise it won't go cheaper on Black Friday, but a five-star OLED for under £700 is an excellent deal at any time of year.

Its brilliant, bright picture makes it a solid choice for anyone upgrading to OLED for the first time, and LG’s webOS has excellent app support with all the key services.

The LG C5 is also our gaming TV Award winner thanks to its myriad of gaming features, including four HDMI 2.1 sockets – ideal for the upcoming GTA 6.

As far as we're concerned, it's the TV deal to beat this Prime Day.

MORE:

The best Amazon Big Deal Days savings on headphones, OLED TVs, Dolby Atmos soundbars and more, direct from our experts

Read our 48-inch LG C6 review

Best TVs: flagship OLEDs and budget LED sets tried and tested

Today is Amazon Prime Day! Or rather, it isn't.

To use the correct name, today is actually Prime Big Deal Days. Which is an awful name. And a horrible phrase to use in a headline (I should know, I've written the headlines).

Now Amazon is very keen that we all use the correct name. So much so that when I wrote a news story about it recently, one of Amazon's PR people asked me to change the headline to call it Prime Big Deal Days instead of Prime Day. I politely declined.

Because to everyone who doesn't work at Amazon, it's Prime Day. Maybe Autumn Prime Day, or October Prime Day. But Prime Day nonetheless. Not Prime Big Deal Days.

But not only is Prime Big Deal Days a terrible name, it's confusing too. Amazon has four big sales throughout the year: two for Prime members only, and two for everyone.

There's Amazon Spring Deal Days in the spring, Prime Day in the summer, Prime Big Deal Days in the autumn and then Black Friday at the end of November (which of course is a much bigger affair than just Amazon).

• Get 30 days of free Amazon Prime membership

To make things even more confusing, the name of one of its sales has changed over time.

Prime Big Deal Days was originally called the Prime Early Access Sale. And to add to the e-commerce-based imbroglio, Amazon even uses different names for the spring sale in the UK and US. Stateside, the Amazon Spring Deal Days sale is officially named Amazon Big Spring Sale. It's enough to drive you to Currys. Or Best Buy, if you're in the US.

Incidentally, I don't know why Amazon is so coy about using its own name in its Prime products and events. Prime Video is a, well, prime example. For a time, Amazon's press releases concerning Prime Video included a note to editors imploring us to exclude the word 'Amazon' when referring to the streaming service. Though it seems to have given up on that now.

Amazon, I'll make it simple for you. Call today's sale Autumn Prime Day, the spring sale Spring Prime Day, and the summer one Summer Prime Day. And level the playing field – don't have some sales for Prime members only, and some for everyone. Pick a side, and stick to it.

But mostly, sort out the name. Because if you have to ask people to use the correct name, maybe it's not them, but the name itself that's the problem.

Jeff, my invoice is in the post.

MORE:

Our pick of the best Amazon Prime deals live right now

The new Fire Stick is fast, slim – and strangely priced

Well that didn't take long. Fresh from its five-star review in April, Sony's latest Bluetooth turntable has now plummeted to a new low price. It's just £217 at Amazon as part of the Prime Big Deal Days sale – that's a saving of £82 off the RRP.

Read on to see why it's a great first step into the world of vinyl.

Sony Bluetooth turntable best ever deal

So why is it so good? It builds on its five-star predecessor (the PS-LX310BT) with a similar fuss-free design and straight-out-of-the-box functionality. It also has an aluminium tonearm with a precision pivot bearing, an aluminium die-cast platter and a rubber mat.

Because it's an automatic turntable, there's no need to fiddle with tracking weights or cartridges, which makes playback a breeze. If you're a bit daunted by all the turntable terminology around, a simple model like this is ideal.

Pairing via Bluetooth is very straightforward too, and with support for the aptX Adaptive codec, sound quality is top notch (as long as you pick a compatible wireless speaker).

As we wrote on our review: "We're taken with just how composed, controlled and well-organised the Sony sounds, marvelling at the effortless cohesion and solidity it brings to the entirety of Michael Jackson's Bad album."

There's genuine musicality, which is not always found at this price. And with over £80 off, there's never been a better time to dip your toe in the vinyl waters.

MORE:

Read our Sony PS-LX3BT review

Compare the best Bluetooth turntables

Amazon Prime Big Deal Days Live: the best deals as they happen

Harkening back to when Prime Day occupied just a single day feels a bit like reminiscing about cars without seatbelts or steam trains.

The times have most certainly changed, and special though those early days of technology surely were, we are compelled change with them. These days, Prime Day happens several times a year, and this year's Prime Big Day Deals have finally arrived, to provide an autumnal dose of discounts.

As ever, when such an occasion comes around, certain members of the What Hi-Fi? team keep a diligent eye out for bargains on vinyl. What with the booming revival of physical media, we're always happy to give the format a helping hand, and hopefully get that extra bit of money back to musical artists.

So, this year, we've gone virtual crate diving, to find you deals on the records we think will give your hi-fi set-up a run for its money.

We're certain that even more records will see discounted prices on Prime Day, but, for now, here's the best and cheapest wax you'll find on offer:

Kicking things off with Kendrick Lamar, DAMN. is the Californian rapper's Pulitzer Prize-winning fourth album. The album strips back the ambitious jazz arrangements of Lamar's earlier work, going for a more trap-infused sound and diving into topics such as morality and faith.

Next up, The Rolling Stones' Exile On Main Street is, in our opinion, an album that no record collection is complete without. Blending country music, blues, gospel and rock across its tracklist, this album features paired-back recordings such as Sweet Virginia, which leave you feeling as though you're sat right in the middle of the band as they shamble their songs together.

Queen appear quite frequently during sales events, and their Greatest Hits II is a fine, if somewhat unusual entry point to the band's music. Tracking their biggest hits between 1981 and 1991, this record features big-hitters such as Under Pressure, A Kind of Magic and Radio Ga Ga, plus some tracks that might be new to more uninitiated listeners.

Dire Straits could be considered the sultans of sales, as their music so frequently pops up during these events. Nonetheless, their self-titled debut album has a well-earned place in the rock music canon, with some all-time classic guitar riffs. There's a reason this album went double platinum in both the UK and the US, after all.

The enigmatic Rodriguez is a character that has captured the imaginations of generations of music lovers. With a sound that is something akin to a fusion of Bob Dylan and Scott Walker, Cold Fact is at once eerie and comforting, and includes some of the singer-songwriter's best-loved tunes, such as Sugar Man and Crucify Your Mind.

But if feeling unsettled isn't your thing, maybe some classic guitar-led rock from Jeff Beck will put you at ease. Widely hailed as one of the earliest heavy metal albums, Truth is Beck's 1968 debut and introduces his talented backing group, The Jeff Beck Group.

To round things up, Chemtrails Over The Country Club is the ever-melancholic Lana Del Rey's seventh studio album. Featuring collaborations from Nikki Lane, Weyes Blood and Zella Day, this folk/Americana record was released to widespread critical acclaim and centres on themes of family, heartbreak and nostalgia.

MORE:

Beware: these vinyl albums are actually worse than their streaming versions

Our selection of the best turntables tested by our expert reviewers

Plus, check out our pick of the ultimate music tracks to test your hi-fi system

Sony loves a good discount during sales periods, and this year's Amazon Big Deal Days, AKA Prime Day 2, is no different.

The brand's flagship wireless headphones, the Sony WH-1000XM6, are fabulous all-rounders, and now that they've dropped from their usual retail price of £399 to just £319 at Amazon, we can imagine that you're tempted to dive in and grab a pair.

It's not a bad idea, but just hold fire for a second. The XM6s' Award-winning predecessors, the WH-1000XM5, are also heavily discounted, dropping from £380 to just £192 at Amazon, a mega saving of £188.

Looks like you've got a tough decision to make....

Best Prime Day Sony wireless headphones deals

Right then, two pairs of flagship Sony over-ear wireless headphones, but which pair should you pick this Amazon Prime Day?

For sheer value, we'd direct you towards the WH-1000XM5. They're not Sony's newest cans anymore, but the XM5 remain a sensational option for anyone seeking great sound, high-performance features, and a comfortable, premium-feeling design.

Plus, you're getting all that Sony quality for one of the lowest prices we've yet seen on the former flagships.

30 hours of battery with ANC on? Check. DSEE upscaling for cleaning up lower-quality files? Check. Support for Sony's 360 Reality Audio and higher-res LDAC codec? Check. A five-star review and a few What Hi-Fi? Awards for their trouble? Also check.

The WH-1000XM6 are, essentially, a case of 'more of the same but better'. All of the same features as above are transferred across to the new flagbearers, including 30 hours of battery, DSEE and 360 Reality Audio, now bolstered by even better noise cancelling and the ability to fold away into a ball.

They take the XM5s' sound to a new level, too, offering a step above the XM5 in terms of detail, dynamics and openness. Both pairs are a joy to listen to, but if you want the best wireless sound that Sony has to offer, it's the WH-1000XM6 every day of the week.

A tricky decision to make, but neither pair will leave you feeling short-changed. Check out the XM5 and XM6 on Amazon and save yourself a packet.

MORE:

The best Amazon Big Deal Days savings on headphones, OLED TVs, Dolby Atmos soundbars and more, direct from our experts

Love Sony? Read our recent Sony WH-1000XM4C review

These are the best wireless headphones you can buy

It's finally October, and despite the unseasonably warm and sunny start to the month, everyone at What Hi-Fi? is gearing up for a cosy autumn. After a manic September where we listened to dozens of new products for our annual What Hi-Fi? Awards, we're now just a week away from announcing the 2026 Best Buy winners – tune in next Tuesday, 13th October, to find out!

We have plenty of reviews coming up in the meantime, from an affordable set of wired in-ears to £20,000 Italian floorstanders. We're also testing JBL's Sonos-rivalling wireless speakers, a successor to an Award-winning hi-res music player, and trying the best combination of rear surrounds and subwoofer to complete the five-star Sony Bravia Theatre Trio system.

As ever, if you have any questions about the products we're testing, drop us a comment below or email us at whathifi@futurenet.com, and we'll do our best to swiftly answer. For now, enjoy a little peek into the hi-fi and home cinema products we've got in our test rooms this month.

Sonus Faber Olympica III G3

Sonus Faber makes some beautiful speakers. Especially at the high-end level, the Italian hi-fi brand's speakers are hand-crafted with utmost care – and the new Olympica III G3 is no exception. These floorstanding speakers feature acoustic technology derived from the flagship Suprema system – such as the irregular-shaped, unpainted Camelia midrange driver that promises "exceptional clarity, transparency, and vocal realism".

These are the third-generation versions of the Olympica range, and the floorstanders we have in for testing cost a pretty penny at £20,000 / $24,000 per pair. Landing firmly in the 'Temptation' category, we can't wait to hear if they live up to expectations.

Sennheiser CX 80U

Wired earbuds are booming in popularity, and they have evolved from their 3.5mm versions to feature a USB-C connection, so they can be plugged into any modern smartphone, laptop, tablet or games console with a USB-C input.

We have Sennheiser's CX 80U wired in-ear headphones in for testing, whose USB-C connection offers low-latency, lossless music playback, with the internal DAC supporting native files up to 24-bit/96kHz.

Costing just £35 / $40, can this affordable Sennheiser model take on the long-running, Award-winning SoundMagic E11C or five-star E80D in-ears?

Astell & Kern PD5

Astell & Kern's A&norma SR35 has been another favourite of ours, nabbing a What Hi-Fi? Award for the best portable music player three years in a row since its release in 2023. We have its successor, the Astell & Kern PD5, in our hands right now, and have been putting it through the paces and comparing it with our old favourite.

Along with a price jump to £899, the premium PD5 sports a simplified redesign, boasts eight hours longer battery life and double the number of DACs compared with its predecessor, and promises to deliver even better sound than before.

It's decked out with exhaustive file compatibility – up to 32-bit/384kHz PCM, native DSD256, aptX and LDAC for wireless – and you can download Tidal and Qobuz onto the compact player, too. Will it continue to lead the field, despite the rise in price? We shall soon find out.

JBL Cove X1

JBL has been dominating the portable Bluetooth speaker category with its Go, Flip, Charge and Xtreme models, but now it has set its sights on the wireless multi-room home speaker category. That's right, JBL is taking on Sonos with its new Cove wireless speaker range, with the flagship of the range – the Cove X1 – in our test rooms right now.

The Cove X1 features six drivers and supports Dolby Atmos spatial audio, with support for AirPlay 2, Google Cast, Bluetooth and all the popular music streaming services. JBL boasts easy connectivity and quick set-up as the things that set the Cove apart from its rivals. Costing £430 / $450 / AU$650, the Cove X1 goes directly up against the five-star Sonos Era 300 (£499 / $449 / AU$749) – we can't wait to hear how it performs.

Dali Sonik 5 5.1 speaker package

Dali’s new Sonik range has been something of a revelation in hi-fi terms, with both the Sonik 1 and Sonik 5 having scored five-star ratings as stereo pairs. One would expect, therefore, that a 5.1 speaker package that features both speakers would be similarly impressive.

Of course, there’s no guarantee that the two speakers will work together harmoniously, and there’s always a chance that the centre (the Sonik Cinema) or subwoofer (the E-9F) could upset the balance, which is why we’re testing the system as a whole (costing £2199 in total) this month.

Sony Bravia Theatre Trio + Rear 9 and Sub 9

When we tested Sony’s Bravia Theatre Trio, which is essentially a soundbar deconstructed into centre, left and right speakers, we also gave it a try with the optional Rear 9 speakers and Sub 8 subwoofer. We found this full system to be close to perfect for its purpose and price, but theorised that a swap from the Sub 8 to the Sub 9 would solve the last remaining imperfections.

Well, this month, we’re putting that theory to the test…

MORE:

Read our PMC MB2 SE review

Counterfeit vinyl is a massive problem for us all, for this very simple reason

Ask The Reader: what's the first record you play when you christen a new turntable?